text:
Harry Reid Has Some Advice for Washington Nationals
Trea Turner 'has no arm', team needs more pitching, Reid says
Senate Minority Leader Harry Reid, D-Nev., called out Nationals players Trea Turner and Stephen Strasburg. (Bill Clark/CQ Roll Call)
Posted October 19, 2016 at 11:06am
LAS VEGAS, Nev. — When Harry Reid isn't following 2016 politics, he's following the baseball playoffs, and he has some advice for the now-eliminated Washington Nationals.
"I've watched them closely, listened to them, all of them," the Senate Minority Leader said. "It's obvious the Nationals have to have a centerfielder. Trea Turner's a shortstop or — he's an infielder. He has no arm," the Nevada Democrat said in an interview between campaign stops in Reno and Sparks. "You've heard all the pundits that he doesn't play centerfield very well. He heads in the wrong direction, which, if it weren't for his blinding speed, it would be a lot worse than it has been."
Turner, the phenom speedster who was inserted atop the lineup over the summer by Nationals manager Dusty Baker, helped propel the team to one of the best records in the National League in the regular season.
But Turner and his teammates' bats could not overcome the Los Angeles Dodgers.
"You know I'm not close to Dusty Baker like I was [to former manager] Matt Williams, but I like Dusty and I think he knows he has to get a centerfielder, and I would suggest he get one and put Trea Turner at shortstop."
"This new catcher may be OK, but he can't win anything with two pitchers. That's all he has now," Reid told Roll Call. "Strasburg's hurt all the time."
Former ace Stephen Strasburg's most recent injury was described as a partially torn pronator tendon. Starting catcher Wilson Ramos was also sidelined from the division series with a serious knee injury.
So now Reid, who has been a Nationals fan — and particularly of superstar rightfielder and Nevada native Bryce Harper — is all-in behind the American League's Cleveland Indians.
"Going back to 1949 and '50, I've always been a fan of the Cleveland Indians," Reid said. "My favorite team of all time, and I can give you the lineup for the world champion Cleveland Indians."
Reid then proceeded to rattle off most of the lineup and the pitching rotation for that team, which won the 1948 World Series, the most recent for the franchise.


text:
function h = wizard_gui(filename)

% This is the low level wizard function. It evaluates the matlab content
% in the workspace of the calling function. To prevent overwriting
% variables in the BASE workspace, this function should be called from a
% wrapper function. The wrapper function whoudl pause execution untill the
% wizard figure is deleted.

% Copyright (C) 2007, Robert Oostenveld
%
% This file is part of FieldTrip, see http://www.ru.nl/neuroimaging/fieldtrip
% for the documentation and details.
%
%    FieldTrip is free software: you can redistribute it and/or modify
%    it under the terms of the GNU General Public License as published by
%    the Free Software Foundation, either version 3 of the License, or
%    (at your option) any later version.
%
%    FieldTrip is distributed in the hope that it will be useful,
%    but WITHOUT ANY WARRANTY; without even the implied warranty of
%    MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the
%    GNU General Public License for more details.
%
%    You should have received a copy of the GNU General Public License
%    along with FieldTrip. If not, see <http://www.gnu.org/licenses/>.
%
% $Id: wizard_base.m 952 2010-04-21 18:29:51Z roboos $

% create a new figure
h = figure('Name','Wizard',...
  'NumberTitle','off',...
  'MenuBar','none',...
  'KeyPressFcn', @cb_keyboard,...
  'resizeFcn', @cb_resize,...
  'closeRequestFcn', @cb_cancel);
% movegui(h,'center');
% set(h, 'ToolBar', 'figure');

if nargin>0
  filename = which(filename);
  [p, f, x] = fileparts(filename);
  data          = [];
  data.path     = p;
  data.file     = f;
  data.ext      = x;
  data.current  = 0;
  data.script   = script_parse(filename);
  guidata(h, data);   % attach the data to the GUI figure
else
  data          = [];
  data.path     = [];
  data.file     = [];
  data.ext      = [];
  data.current  = 0;
  data.script   = script_parse([]);
  guidata(h, data);   % attach the data to the GUI figure
  cb_load(h);
end
cb_show(h);           % show the GUI figure
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_keyboard(h, eventdata)
h = parentfig(h);
dbstack
if     isequal(eventdata.Key, 'o') && isequal(eventdata.Modifier, {'control'})
  cb_load(h);
elseif isequal(eventdata.Key, 's') && isequal(eventdata.Modifier, {'control'})
  cb_save(h);
elseif isequal(eventdata.Key, 'e') && isequal(eventdata.Modifier, {'control'})
  cb_edit(h);
elseif isequal(eventdata.Key, 'p') && isequal(eventdata.Modifier, {'control'})
  cb_prev(h);
elseif isequal(eventdata.Key, 'n') && isequal(eventdata.Modifier, {'control'})
  cb_next(h);
elseif isequal(eventdata.Key, 'q') && isequal(eventdata.Modifier, {'control'})
  cb_cancel(h);
elseif isequal(eventdata.Key, 'x') && isequal(eventdata.Modifier, {'control'})
  % FIXME this does not work
  cb_done(h);
elseif isequal(eventdata.Key, 'n') && any(strcmp(eventdata.Modifier, 'shift')) && any(strcmp(eventdata.Modifier, 'control'))
  % FIXME this does not always work correctly
  cb_skip(h);
end
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_show(h, eventdata)
h = parentfig(h);
data = guidata(h);
clf(h);
if data.current<1
  % introduction, construct the GUI elements
  ui_next = uicontrol(h, 'tag', 'ui_next', 'KeyPressFcn', @cb_keyboard, 'style', 'pushbutton', 'string', 'next >', 'callback', @cb_next);
  ui_help = uicontrol(h, 'tag', 'ui_help', 'KeyPressFcn', @cb_keyboard, 'style', 'text', 'max', 10, 'horizontalAlignment', 'left', 'FontName', '', 'backgroundColor', get(h, 'color'));
  % display the introduction text
  title = cat(2, data.file, ' - introduction');
  tmp = {data.script.title};
  help = sprintf('%s\n', tmp{:});
  help = sprintf('This wizard will help you through the following steps:\n\n%s', help);
  set(ui_help, 'string', help);
  set(h, 'Name', title);
elseif data.current>length(data.script)
  % finalization, construct the GUI elements
  ui_prev = uicontrol(h, 'tag', 'ui_prev', 'KeyPressFcn', @cb_keyboard, 'style', 'pushbutton', 'string', '< prev', 'callback', @cb_prev);
  ui_next = uicontrol(h, 'tag', 'ui_next', 'KeyPressFcn', @cb_keyboard, 'style', 'pushbutton', 'string', 'finish', 'callback', @cb_done);
  ui_help = uicontrol(h, 'tag', 'ui_help', 'KeyPressFcn', @cb_keyboard, 'style', 'text', 'max', 10, 'horizontalAlignment', 'left', 'FontName', '', 'backgroundColor', get(h, 'color'));
  % display the finalization text
  title = cat(2, data.file, ' - finish');
  help = sprintf('If you click finish, the variables created by the script will be exported to the Matlab workspace\n');
  set(ui_help, 'string', help);
  set(h, 'Name', title);
else
  % normal wizard step, construct the GUI elements
  ui_prev = uicontrol(h, 'tag', 'ui_prev', 'KeyPressFcn', @cb_keyboard, 'style', 'pushbutton', 'string', '< prev', 'callback', @cb_prev);
  ui_next = uicontrol(h, 'tag', 'ui_next', 'KeyPressFcn', @cb_keyboard, 'style', 'pushbutton', 'string', 'next >', 'callback', @cb_next);
  ui_help = uicontrol(h, 'tag', 'ui_help', 'KeyPressFcn', @cb_keyboard, 'style', 'text', 'max', 10, 'horizontalAlignment', 'left', 'FontName', '', 'backgroundColor', get(h, 'color'));
  ui_code = uicontrol(h, 'tag', 'ui_code', 'KeyPressFcn', @cb_keyboard, 'style', 'edit', 'max', 10, 'horizontalAlignment', 'left', 'FontName', 'Courier', 'backgroundColor', 'white');
  % display the current wizard content
  help  = data.script(data.current).help;
  code  = data.script(data.current).code;
  title = cat(2, data.file, ' - ', data.script(data.current).title);
  set(ui_help, 'string', help);
  set(ui_code, 'string', code);
  set(h, 'Name', title);
end
cb_resize(h);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_resize(h, eventdata)
h = parentfig(h);
ui_prev = findobj(h, 'tag', 'ui_prev');
ui_next = findobj(h, 'tag', 'ui_next');
ui_help = findobj(h, 'tag', 'ui_help');
ui_code = findobj(h, 'tag', 'ui_code');
siz = get(h, 'position');
x = siz(3);
y = siz(4);
w = (y-40-20)/2;
if ~isempty(ui_prev)
  set(ui_prev, 'position', [x-150 10 60 20]);
end
if ~isempty(ui_next)
  set(ui_next, 'position', [x-080 10 60 20]);
end
if ~isempty(ui_code) && ~isempty(ui_help)
  set(ui_code, 'position', [10 40   x-20 w]);
  set(ui_help, 'position', [10 50+w x-20 w]);
else
  set(ui_help, 'position', [10 40 x-20 y-50]);
end
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_prev(h, eventdata)
h = parentfig(h);
cb_disable(h);
data = guidata(h);
if data.current>0
  data.current = data.current - 1;
end
guidata(h, data);
cb_show(h);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_next(h, eventdata)
h = parentfig(h);
cb_disable(h);
data = guidata(h);
if data.current>0
  title = cat(2, data.file, ' - busy');
  set(h, 'Name', title);
  ui_code = findobj(h, 'tag', 'ui_code');
  code = get(ui_code, 'string');
  try
    for i=1:size(code,1)
      evalin('caller', code(i,:));
    end
  catch
    lasterr;
  end
  data.script(data.current).code = code;
end
data.current = data.current+1;
guidata(h, data);
cb_show(h);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_skip(h, eventdata)
h = parentfig(h);
cb_disable(h);
data = guidata(h);
data.current = data.current+1;
guidata(h, data);
cb_show(h);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_disable(h, eventdata)
h = parentfig(h);
ui_prev = findobj(h, 'tag', 'ui_prev');
ui_next = findobj(h, 'tag', 'ui_next');
ui_help = findobj(h, 'tag', 'ui_help');
ui_code = findobj(h, 'tag', 'ui_code');
set(ui_prev, 'Enable', 'off');
set(ui_next, 'Enable', 'off');
set(ui_help, 'Enable', 'off');
set(ui_code, 'Enable', 'off');
drawnow
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_enable(h, eventdata)
h = parentfig(h);
ui_prev = findobj(h, 'tag', 'ui_prev');
ui_next = findobj(h, 'tag', 'ui_next');
ui_help = findobj(h, 'tag', 'ui_help');
ui_code = findobj(h, 'tag', 'ui_code');
set(ui_prev, 'Enable', 'on');
set(ui_next, 'Enable', 'on');
set(ui_help, 'Enable', 'on');
set(ui_code, 'Enable', 'on');
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_edit(h, eventdata)
h = parentfig(h);
data = guidata(h);
filename = fullfile(data.path, [data.file data.ext]);
edit(filename);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_load(h, eventdata)
h = parentfig(h);
cb_disable(h);
[f, p] = uigetfile('*.m', 'Load script from an M-file');
if ~isequal(f,0)
  data = guidata(h);
  filename = fullfile(p, f);
  [p, f, x] = fileparts(filename);
  str = script_parse(filename);
  data.script   = str;
  data.current  = 0;
  data.path = p;
  data.file = f;
  data.ext  = x;
  guidata(h, data);
  cb_show(h);
end
cb_enable(h);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_save(h, eventdata)
cb_disable(h);
data = guidata(h);
filename = fullfile(data.path, [data.file data.ext]);
[f, p] = uiputfile('*.m', 'Save script to an M-file', filename);
if ~isequal(f,0)
  filename = fullfile(p, f);
  [p, f, x] = fileparts(filename);
  fid = fopen(filename, 'wt');
  script = data.script;
  for k=1:length(script)
    fprintf(fid, '%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%\n');
    for i=1:size(script(k).help, 1)
      fprintf(fid, '%% %s\n', deblank(script(k).help(i,:)));
    end
    for i=1:size(script(k).code, 1)
      fprintf(fid, '%s\n', deblank(script(k).code(i,:)));
    end
  end
  fclose(fid);
  data.path = p;
  data.file = f;
  data.ext  = x;
  guidata(h, data);
  cb_show(h);
end
cb_enable(h);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_done(h, eventdata)
h = parentfig(h);
cb_disable(h);
assignin('caller', 'wizard_ok', 1);
delete(h);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function cb_cancel(h, eventdata)
h = parentfig(h);
cb_disable(h);
assignin('caller', 'wizard_ok', 0);
delete(h);
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function script = script_parse(filename)
if isempty(filename)
  script.title = '';
  script.help  = '';
  script.code  = '';
  return
end
fid = fopen(filename);
str = {};
while ~feof(fid)
  str{end+1} = fgetl(fid);
end
str = str(:);
fclose(fid);
i = 1; % line number
k = 1; % block number
script = [];
while i<=length(str)
  script(k).title = {};
  script(k).help  = {};
  script(k).code = {};
  while i<=length(str) && ~isempty(regexp(str{i}, '^%%%%', 'once'))
    % skip the seperator lines
    i = i+1;
  end
  while i<=length(str) && ~isempty(regexp(str{i}, '^%', 'once'))
    script(k).help{end+1} = str{i}(2:end);
    i = i+1;
  end
  while i<=length(str) && isempty(regexp(str{i}, '^%%%%', 'once'))
    script(k).code{end+1} = str{i};
    i = i+1;
  end
  k = k+1;
end
sel = false(size(script));
for k=1:length(script)
  sel(k) = isempty(script(k).help) && isempty(script(k).code);
  if length(script(k).help)>0
    script(k).title = char(script(k).help{1});
  else
    script(k).title = '<unknown>';
  end
  script(k).help  = char(script(k).help(:));
  script(k).code  = char(script(k).code(:));
end
script(sel) = [];
return

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
function h = parentfig(h)
while get(h, 'parent')
  h = get(h, 'parent');
end
return

redpajama_set_name: RedPajamaGithub


When do I pay for a lead, and how much?
You receive your first three leads FREE (in areas where there is no competition).
After this, you only pay if the customer chooses you, and only you, to quote.
And remember, if you are selected, you only ever pay the minimum of the four bids offered.
No fee being the only one in the area or you nominate a fee for the suburbs you want to work in for every lead.
I was paying around $8 a lead before I left in 2012. Other divisions pay higher lead fees. I think test and tag were paying around the $40 mark.


text:
Swaraj 855 Tractor Specification, and several features | Khetigaadi-2023
Rohan kaleUncategorized January 14, 2023
Swaraj 855 is a model manufactured by Swaraj tractor, a brand owned by Mahindra & Mahindra Limited. It is a 52 HP tractor, suitable for a wide range of farming applications such as plowing, tilling, and harvesting. It is known for its fuel efficiency, power, and durability.
The Swaraj 855 FE is a tractor model that has several features and specifications. Some of them are:
Engine: This engine is a 3-cylinder, water-cooled diesel engine with a power output of 52 HP. It is used in the Swaraj 855 FE tractor model, which is designed for agricultural and farming applications. The engine has a displacement of 2179 cc, and it complies with the latest emission norms.
Transmission: The Swaraj 855 FE tractor is equipped with a mechanical transmission system. It features 8 forward + 2 reverse gearboxes. The transmission system allows for smooth and easy gear shifting, providing optimal power to the wheels for different field operations. It also has a dual-clutch which provides a smooth power flow to the transmission system. This tractor is capable of reaching a top speed of 30.5 km/h in forward gears and 13.5 km/h in reverse gears.
Lift Capacity: The Swaraj 855 FE tractor is equipped with a hydraulic lift capacity of 1500 kg. This means that the tractor is able to lift and carry loads of up to 1500 kg (kilogram-force) using its hydraulic system. This lifting capacity is suitable for a wide range of farming and agricultural applications such as plowing, tilling, planting, and haulage. The lift capacity is achieved by the use of a powerful and efficient hydraulic system, which is controlled by a lever on the tractor's dashboard.
Fuel Tank: The Swaraj 855 FE tractor is equipped with a fuel tank that has a capacity of approximately 60 liters. This allows for a large fuel capacity, which translates to longer hours of operation without having to refuel. This is particularly useful for farmers who need to work on large fields or for those who need to work for long periods of time without interruption. The fuel tank is located in a convenient and easily accessible location on the tractor, making it easy to fill and monitor the fuel level.
Battery: It has a 12V, 80 Ah battery.
Tires: It has 6.00-16 front & 14.9-28 rear tires.
Weight: It has a total weight of 2110 kg.
Brakes: It has oil-immersed brakes.
Steering: It has power steering.
PTO: It has a PTO of 540 RPM.
Dimensions: It has an overall length of 3420 mm, a width of 1715 mm, and a height of 2275 mm.
Warranty: It comes with a 2-year warranty.
Here are some common questions and answers about Swaraj 855 Tractor
Q: What is the Swaraj 855 Tractor price range?
A: The Swaraj 855 Tractor price range starts at 7.1-7.4 Lac.
Q: How Many cylinders are there swaraj 855?
A: Swaraj 855 has 3 cylinders.
For more information about Tractors, Tractor prices, and Tractor video visit Khetigaadi.com.
agricultureKhetiGaadi
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redpajama_set_name: RedPajamaCommonCrawl


text:
<?php

use Symfony\Component\Routing\RequestContext;
use Symfony\Component\Routing\Exception\RouteNotFoundException;

/**
 * appdevUrlGenerator
 *
 * This class has been auto-generated
 * by the Symfony Routing Component.
 */
class appdevUrlGenerator extends Symfony\Component\Routing\Generator\UrlGenerator
{
    static private $declaredRouteNames = array(
       '_welcome' => true,
       '_demo_login' => true,
       '_security_check' => true,
       '_demo_logout' => true,
       'acme_demo_secured_hello' => true,
       '_demo_secured_hello' => true,
       '_demo_secured_hello_admin' => true,
       '_demo' => true,
       '_demo_hello' => true,
       '_demo_contact' => true,
       '_wdt' => true,
       '_profiler_search' => true,
       '_profiler_purge' => true,
       '_profiler_import' => true,
       '_profiler_export' => true,
       '_profiler_search_results' => true,
       '_profiler' => true,
       '_configurator_home' => true,
       '_configurator_step' => true,
       '_configurator_final' => true,
       'pilabs_store_catalog_index' => true,
       'pilabs_store_catalog_product' => true,
       'optima_optima_auth_index' => true,
       'plabs_plabs_default_index' => true,
    );

    /**
     * Constructor.
     */
    public function __construct(RequestContext $context)
    {
        $this->context = $context;
    }

    public function generate($name, $parameters = array(), $absolute = false)
    {
        if (!isset(self::$declaredRouteNames[$name])) {
            throw new RouteNotFoundException(sprintf('Route "%s" does not exist.', $name));
        }

        $escapedName = str_replace('.', '__', $name);

        list($variables, $defaults, $requirements, $tokens) = $this->{'get'.$escapedName.'RouteInfo'}();

        return $this->doGenerate($variables, $defaults, $requirements, $tokens, $parameters, $name, $absolute);
    }

    private function get_welcomeRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\WelcomeController::indexAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/',  ),));
    }

    private function get_demo_loginRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\SecuredController::loginAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/demo/secured/login',  ),));
    }

    private function get_security_checkRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\SecuredController::securityCheckAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/demo/secured/login_check',  ),));
    }

    private function get_demo_logoutRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\SecuredController::logoutAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/demo/secured/logout',  ),));
    }

    private function getacme_demo_secured_helloRouteInfo()
    {
        return array(array (), array (  'name' => 'World',  '_controller' => 'Acme\\DemoBundle\\Controller\\SecuredController::helloAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/demo/secured/hello',  ),));
    }

    private function get_demo_secured_helloRouteInfo()
    {
        return array(array (  0 => 'name',), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\SecuredController::helloAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'name',  ),  1 =>   array (    0 => 'text',    1 => '/demo/secured/hello',  ),));
    }

    private function get_demo_secured_hello_adminRouteInfo()
    {
        return array(array (  0 => 'name',), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\SecuredController::helloadminAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'name',  ),  1 =>   array (    0 => 'text',    1 => '/demo/secured/hello/admin',  ),));
    }

    private function get_demoRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\DemoController::indexAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/demo/',  ),));
    }

    private function get_demo_helloRouteInfo()
    {
        return array(array (  0 => 'name',), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\DemoController::helloAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'name',  ),  1 =>   array (    0 => 'text',    1 => '/demo/hello',  ),));
    }

    private function get_demo_contactRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Acme\\DemoBundle\\Controller\\DemoController::contactAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/demo/contact',  ),));
    }

    private function get_wdtRouteInfo()
    {
        return array(array (  0 => 'token',), array (  '_controller' => 'Symfony\\Bundle\\WebProfilerBundle\\Controller\\ProfilerController::toolbarAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'token',  ),  1 =>   array (    0 => 'text',    1 => '/_wdt',  ),));
    }

    private function get_profiler_searchRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Symfony\\Bundle\\WebProfilerBundle\\Controller\\ProfilerController::searchAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/_profiler/search',  ),));
    }

    private function get_profiler_purgeRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Symfony\\Bundle\\WebProfilerBundle\\Controller\\ProfilerController::purgeAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/_profiler/purge',  ),));
    }

    private function get_profiler_importRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Symfony\\Bundle\\WebProfilerBundle\\Controller\\ProfilerController::importAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/_profiler/import',  ),));
    }

    private function get_profiler_exportRouteInfo()
    {
        return array(array (  0 => 'token',), array (  '_controller' => 'Symfony\\Bundle\\WebProfilerBundle\\Controller\\ProfilerController::exportAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '.txt',  ),  1 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/\\.]+?',    3 => 'token',  ),  2 =>   array (    0 => 'text',    1 => '/_profiler/export',  ),));
    }

    private function get_profiler_search_resultsRouteInfo()
    {
        return array(array (  0 => 'token',), array (  '_controller' => 'Symfony\\Bundle\\WebProfilerBundle\\Controller\\ProfilerController::searchResultsAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/search/results',  ),  1 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'token',  ),  2 =>   array (    0 => 'text',    1 => '/_profiler',  ),));
    }

    private function get_profilerRouteInfo()
    {
        return array(array (  0 => 'token',), array (  '_controller' => 'Symfony\\Bundle\\WebProfilerBundle\\Controller\\ProfilerController::panelAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'token',  ),  1 =>   array (    0 => 'text',    1 => '/_profiler',  ),));
    }

    private function get_configurator_homeRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Sensio\\Bundle\\DistributionBundle\\Controller\\ConfiguratorController::checkAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/_configurator/',  ),));
    }

    private function get_configurator_stepRouteInfo()
    {
        return array(array (  0 => 'index',), array (  '_controller' => 'Sensio\\Bundle\\DistributionBundle\\Controller\\ConfiguratorController::stepAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'index',  ),  1 =>   array (    0 => 'text',    1 => '/_configurator/step',  ),));
    }

    private function get_configurator_finalRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Sensio\\Bundle\\DistributionBundle\\Controller\\ConfiguratorController::finalAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/_configurator/final',  ),));
    }

    private function getpilabs_store_catalog_indexRouteInfo()
    {
        return array(array (), array (  '_controller' => 'Pilabs\\StoreBundle\\Controller\\CatalogController::indexAction',), array (), array (  0 =>   array (    0 => 'text',    1 => '/pilabs/',  ),));
    }

    private function getpilabs_store_catalog_productRouteInfo()
    {
        return array(array (  0 => 'name',), array (  '_controller' => 'Pilabs\\StoreBundle\\Controller\\CatalogController::productAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'name',  ),  1 =>   array (    0 => 'text',    1 => '/pilabs/product',  ),));
    }

    private function getoptima_optima_auth_indexRouteInfo()
    {
        return array(array (  0 => 'name',), array (  '_controller' => 'Optima\\OptimaBundle\\Controller\\AuthController::indexAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'name',  ),  1 =>   array (    0 => 'text',    1 => '/auth',  ),));
    }

    private function getplabs_plabs_default_indexRouteInfo()
    {
        return array(array (  0 => 'name',), array (  '_controller' => 'Plabs\\PlabsBundle\\Controller\\DefaultController::indexAction',), array (), array (  0 =>   array (    0 => 'variable',    1 => '/',    2 => '[^/]+?',    3 => 'name',  ),  1 =>   array (    0 => 'text',    1 => '/hello',  ),));
    }
}


text:
Q: Comma delimiting results of one column to show next to another? I have a table:

lease_id, suite_id

Lease is a key and you can have multiple suite's to one lease. I'm trying to create a query that shows me all of the suite's that a lease is associated with, essentially an output like the following:

lease_id: 1 suite_list: A1, A2, B1

Unfortunately I'm unsure how to approach this (or even how to begin) as this is a new kind of problem for me... Any help would be greatly appreciated!

A: You can use FOR XML.
The code will be something like this:
-- Sample data tables
select *
into #leases
from (
    select '1' as lease_id
    union
    select '2' as lease_id
    ) a

select *
into #leaseSuites
from (
    select '1' as lease_id,
        'A1' as suite_id
    union
    select '1' as lease_id,
        'A2' as suite_id
    union
    select '1' as lease_id,
        'B1' as suite_id
    union
    select '2' as lease_id,
        'C2' as suite_id
    union
    select '2' as lease_id,
        'B3' as suite_id
    ) a

-- Creates comma delimited with child table.
select left(suite_list, LEN(suite_list) - 1) as suite_list
from (
    SELECT 'lease_id: ' + lease_id + ' ' +
      'suite_list: ' + (
      SELECT s.suite_id + ','
      FROM #leaseSuites s
      WHERE l.lease_id = s.lease_id
      ORDER BY s.suite_id
      FOR XML PATH('')
      ) AS suite_list
    FROM #leases l ) a

Click here to see an article with an example.

A: I'll assume your table is called LeasedSuites.
We'll need a function:
     create function dbo.AllSuite (@l int) returns varchar(100)
     as begin
       declare @v varchar(2);
       declare @r varchar(100);

       DECLARE sc CURSOR FOR select suite_id from LeasedSuites where lease_id = @l
       OPEN sc
       FETCH NEXT FROM sc INTO @v
       WHILE @@FETCH_STATUS = 0 BEGIN
         select @r = @r + ',' + @v;
         FETCH NEXT FROM sc INTO @v
       END
       CLOSE sc
       DEALLOCATE sc

       return substring(@r, 2, len(@r) - 1);
     end

And a query:
     declare @l int;

     create table #out (lease_id int, suite_str varchar(100) null)
     insert #out (lease_id) select distinct lease_id from LeasedSuites

     while (select count(*) from #out where suite_str is null) > 0 begin
       select @l = min(lease_id) from #out where suite_str is null;
       update #out set suite_str = dbo.AllSuite(@l) where lease_id = @l;
     end

     select 'Lease ID: ' + cast(lease_id as varchar(3)) + ' Suites: ' + suite_str from #out order by l;

Hope this helps. Regards JB
If this represents an answer please mark as answer.

A: I've ended up solving this in two ways. My first method, which was unfortunately quite slow was:
declare @period_id  integer =
                (
                     select period_id
                     from   property.period
                     where  getdate() between period_start and period_end
                 )

;with cte_data as
(
    select  lp.*
    from    property.lease_period lp
    where   period_id = @period_id
)
, cte_suites as
(
    select  d.lease_id
        ,   (
                select stuff
                (
                    (   select ', ' + a.suite_id
                        from
                        (   select  a.suite_id
                            from    cte_data a
                            where   a.lease_id = d.lease_id
                         ) a
                        for xml path(''))
                     , 1, 2, ''
                ) as suite_list
            ) suite_list

    from    cte_data d
    group by d.lease_id
) ,
cte_count as
(
    select  lease_id ,
            count(suite_id) as 'suites'
    from    property.lease_period
    where   period_id = @period_id
            and lease_id <> 'No Lease'
    group by lease_id

)
select  d.period_id ,
        d.building_id ,
        d.lease_id ,
        s.suite_list
from    cte_data d
        left outer join cte_suites s
            on d.lease_id = s.lease_id
        inner join cte_count c
            on d.lease_id = c.lease_id
where   period_id = 270
        and d.lease_id <> 'No Lease'
        and c.suites > 1
group by
        d.period_id ,
        d.building_id ,
        d.lease_id ,
        s.suite_list

I then stripped this back and re-approached it with a new direction, resulting in the following (much, much quicker):
declare @period_id  integer =
            (
                 select period_id
                 from   property.period
                 where  getdate() between period_start and period_end
             )

;with CteLeaseInMultSuites as
(
    select  period_id,
            building_id,
            lease_id
    from    property.lease_period
    where   period_id = @period_id
            and lease_id <> 'No Lease'
    group by
            period_id,
            building_id,
            lease_id
    having  count(*) > 1
)

select  period_id,
        building_id,
        lease_id,
        left(x.suite_list, len(x.suite_list) - 1) as suite_list
from    CteLeaseInMultSuites lm
        cross apply
        (
            select  suite_id + ', '
            from    CteLeaseInMultSuites lmx
                    inner join property.lease_period lp
                        on lp.period_id = lmx.period_id
                        and lp.building_id = lmx.building_id
                        and lp.lease_id = lmx.lease_id
            where   lmx.period_id = lm.period_id
                    and lmx.building_id = lm.building_id
                    and lmx.lease_id = lm.lease_id
            for xml path('')
        ) x (suite_list)

redpajama_set_name: RedPajamaStackExchange


text:
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Kyrgyzstan: Meat Poultry Whey TRQs Established for Kyrgyzstan
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Russia: Draft GOR Decrees on Distribution of TRQs for 2016
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Russia: Eurasian Economic Commission Announces 2016 TRQs
Eurasian Economic Commission (EEC) published Decision No. 99 of August 18, 2015, establishing tariff-rate quotas (TRQs) and respective volumes for imports of meat, poultry and whey...
Russia: Russian Agricultural Policy and Situation Bi-Weekly Update 2
The Russian Government Approved Anti-Crisis Plan . . . Pink Salmon Exports Decline . . . Transport of Far Eastern Fish to Get More Expensive . . . Green Agro to Invest in Primorye Livestock . . .
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Russian Federation: New Draft Law on Veterinary Medicine
A new draft framework law "On Veterinary Medicine" aimed at replacing the current Russian law adopted in 1993 was posted on the Russian Government website for public review.


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Report: Nearly Two-Thirds of Undocumented Immigrants are Essential Employees
By Law Offices of James A. Welcome
The undocumented immigrant community has made a profound impact on the cultural diversity of our nation for centuries. Their contributions have extended much further into our recovery efforts throughout the Covid-19 pandemic. From volunteering in our local hospitals, donating to organizations in need, and being on the frontlines of vaccine research, immigrants have modeled their commitment to the American dream. A pro-immigration reform group, FWD.US recently released a study on 2019 Census data that confirmed nearly 69% of undocumented immigrants or nearly one in five people are deemed as "essential workers" in the fight against the Covid-19 pandemic. On the frontlines of a wide range of service industries, undocumented immigrants have been committed to Covid-19 recovery and keeping the country going.
Although the standard definition of an essential worker is one who works or is involved in the safety of human life, the term has been adopted by lawmakers to include several critical industries during the Covid-19 pandemic. From health services to the food & beverage industry, one can be deemed as an "essential worker" thus covering a wide range of industries deemed as essential.
Regardless of the definition of an essential worker, the contributions of undocumented immigrants can not go unnoticed. Throughout the last four years, the Trump administration and key political figures have argued against all forms of immigration, sometimes proposing complete bans on refugees and the like. In recent months, the President has ramped up his efforts in characterizing and accusing immigrants of harming the American worker, and in effect stealing their jobs. These statements and actions misrepresent the total contributions of undocumented immigrants and those who have recently been legalized immigrants. As Covid-19 stay at home orders ensued, President Trump signed executive orders that specifically targeted undocumented workers to "ensure that unemployed Americans of all backgrounds will be first in line for jobs as our economy reopens." Recently Attorney Stephanie Naranjo noted the contributions of immigrants in her Attorney Highlight.
The FWD.US study also estimated that nearly 11% of agriculture workers, 6% of food services and production workers, and 2% of healthcare workers are undocumented immigrants. Not only does the study reflect on the benefits the immigrant community has offered America throughout the Covid-19 pandemic but it demonstrates the need for additional immigration into the United States. Under President-Elect Biden, much of the Trump era's immigration policies will be undone, but the damage over the past four years will have lasting impacts. The millions of lives that were impacted by asylum claim denials, court backlogs, USCIS application delays, and child separation should not be forgotten. President-elect Biden has an obligation to the American voter to offer bipartisan immigration reform that will prioritize the American economy. America is falling behind in almost every metric, from education, infrastructure, economic growth, and healthcare. As our adversaries grow stronger, our political figures must revitalize the American economy with additional immigration, the benefits cannot be understated. Although it is highly unlikely that a pathway to citizenship for the nearly 11 million undocumented immigrants will be accomplished, bipartisan support on reforming DACA can be. Some small changes can make the biggest impact.
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Chinese "twins" have sued a hospital over an apparent mix up of babies 21 years ago until they were reunited by chance and neighbors' complaints.
With the same deep-set eyes and broad mouths, Xiang Nan and Wang Yiwen went to court in Beijing wearing identical jeans and check shirts, demanding redress from a hospital they said 21 years ago mixed up Xiang with another baby, the Beijing Times reported on Wednesday.
That baby grew up as Wang Yiwu, believing he was Wang Yiwen's twin brother.
The two families lived in the same semi-rural district of Beijing and Xiang and Wang Yiwen met briefly two years ago when mutual friends brought them together, struck by their similarity.
They dismissed the likeness as coincidence until late last year, when neighbors complained that a young man they thought was Wang Yiwen often ignored them.
"Often people said that when they saw Wang Yiwen in town he ignored their greetings," the paper said. "When his parents told Wang Yiwen he mentioned Xiang Nan."
Medical tests have now shown that Wang Yiwu has no blood relation to the brother and parents he grew up with, while Xiang Nan was 99.999 percent certain to be one of the biological twins.
The boys and their parents are demanding a total of 1.16 million yuan ($154,000) in compensation and an apology from the hospital, which has said too much time has passed for any court case and the families' claims are "hypothetical."


text:
WE CHAT WITH METRONOMY, DEATH IN VEGAS & BEYOND THE WIZARD'S SLEEVE
When is a band not a band? We aim to find out...
Tuesday, August 16, 2016 - 10:47
When is a band not a band? When it's one or two electronic music producers recording albums that sound like bands? The dividing line between traditional 'bands' and expert electronic engineers has been melting away in recent times. With the simultaneous release of three albums by 'bands-not-bands' METRONOMY, DEATH IN VEGAS and BEYOND THE WIZARD'S SLEEVE, DJ Mag thought it a good time to quiz these 'band' members about their processes and whether they are a band…
WORDS: Kristan J. Caryl
It just so happens that, in this last month or so, three albums have landed from three very different outfits that all rather defy categorisation. Each one blurs the lines between studio production and live jamming. They variously contain functional club tracks, but also proper songs; passages of home listening darkness yet also rousing anthems. They are full of clever studio effects and intricate sonic trickery, but — musically at least — could also work at a festival or in a dark warehouse with their simple but effective hooks and bubbling grooves.
So what is the difference between a band and a studio set-up? Anyone can access the technology that both rely on to make their music, so that's not it. And in 2016, most people are as likely to be into sounds like, say, those put out by Underground Resistance as they are an album by an outfit like Radiohead. So it's not musical styles that determine whether you set up as a band to studio collective, either.
At this point, we thought it best to ask various examples of both for their thoughts on the matter. All of the people we called — Death in Vegas, Beyond The Wizard's Sleeve and Metronomy — had very real views on whether they were or were not a band, and had some interesting thoughts on why that is so…
DEATH IN VEGAS
Richard Fearless has always been something of an outsider. Ever since he started his first band Death In Vegas at art school aged 21, it has been hard to pin it down to one sound or scene. Part-rock group, part-studio outfit, part-live performers, it is still that way almost 20 years later.
The arrival of Fearless's latest album, 'Transmissions', does little to help categorise the band one way or the other. It is another outlier work of drone, dark minimal techno and EBM that was written purposefully to unsettle people and make them feel uncomfortable.
While it sure is a heavy, heady, almost oppressively atmospheric and industrial work, it also has real beauty in its elongated forms. Fearless — née Maguire — who is softly spoken, unhurried and ponderous during interview, says he has always been drawn to such styles, be it the work of artists like Diane Arbus or the sounds of bands like Throbbing Gristle.
"I am drawn to darkness," he muses, while agreeing he is a "pretty intense" character. "I'm drawn to capturing the light in the dark, that kind of film noir thing where there is a dark element but also a striving for a broken beauty."
Richard reports that he has, on and off, struggled with depression, and has always tried to channel that into his work. Not just a musician, but also an artist and visual artist, Fearless says this latest album is the closest he has come to interlinking all of his disciplines. Any live shows that follow the release of 'Transmission' will feature his own visual work, whilst he is also working on a project that takes club lighting into unusual organic settings, such as ancient forests.
This latest album wasn't written with live performance in mind — due to how limiting that can be — but it was recorded in a live fashion after almost a year of ground work. With Fearless as the only current member of the band, the first step was to enlist the help of Sasha Grey.
This came about after the Londoner had spent time working closely with singers, actors and a boys' choir on a musical. "I really liked the challenge of working outside my comfort zone and enjoyed the process of getting a performance out of them," he explains. As such, not wanting a straight-up singer "who had a certain colouring," he wanted someone more performance-based. Sasha fitted the bill, and the pair started collaborating over the internet.
Sasha was sending poems, Richard was writing the songs, and together they worked on adapting the former for the latter. He then headed out to LA where they spent a week rehearsing, and then the next three days were spent performing each track live and laying them down in one take.
It was a new way of working for Fearless who had previously written Death In Vegas albums in the studio, layering them up in a way that is not conducive to then performing the material live. It is also a technique used by the producers of the records he grew up with in the eighties — Chicago house and Detroit techno — before the days of MIDI and sequencers.
There is a sizeable gap between this and the last Death In Vegas album, largely due to the fact that Richard needed time to work out what sort of record he wanted to make. He isn't one to just go in and start mindlessly jamming or noodling away.
In fact, he had already finished a complete long-player due to be released under his own name, but the laptop it was on got nicked.
"I felt like getting burgled was a great thing," he says down the phone, laughing gently. "It felt like a purge, and I felt that purging needed to carry on. I felt like maybe if it also happened across my fan-base, that was not a bad idea as well."
As such, he was inspired to go with his gut, and make an album that he wanted to make with no compromises and no concessions. "I wanted to make a record that I felt re-positioned Death In Vegas as not a normal band, which is why I started it in the first place. I wanted to do something with a purist vision, rather than thinking about where it would fit or about playing it live."
He asks to continue, keen to get something off his chest. "When I started the band it felt like I was doing something different, pushing boundaries. With the second album, I did it again. Now I think some hardcore fans have been annoyed with this record, but that's a good thing: you have to have people either loving something or hating it. I don't wanna make listening music that everyone's tapping their toe to. I want to get a reaction."
Opening your album with an eleven-minute drone track sure will do that. From there, a sense of paranoia, Ballardian dystopia and menacing reverb all underpin visceral techno with haunting vocals, brooding chuggers and rumbling minimal rollers. As such, you can very much picture the environment in which the album was made: Fearless's studio is situated in a shipping container in a sweeping turn of the Thames, with a steel factory constantly rumbling off to one side, twinkling neon lights from City Airport in the distance, and Canary Wharf and all the "aspects of London I hate, but that also inspire me" in the mid-ground.
Throughout our chat, Fearless refers to Death In Vegas as a band. He reckons he gets into a certain gear when making material under the alias that makes it so. Truth is, it seems like a perfect symphony of band and studio working processes, where he can spend hours practising, tweaking, working on arrangements on his own, then perform the thing live (after lots of setting up and testing of gear) in one take, much more like a band. "I don't wanna just make records for Death In Vegas fans," he says of the new approach and unfettered sound of the album. "I like the idea of reaching other audiences."
Musical polymaths Erol Alkan and Richard Norris first met whilst playing on the electro circuit. Norris was also a regular at Alkan's legendary Trash night and so, he says, they soon began swapping CDs full of "old, strange, outsider records" before then deciding to do various seven-hour back-to-back DJ sets.
With a vast but shared musical background that takes in everything from krautrock to psychedelia, afro to rock, they realised many of the tracks they played needed editing to be fit for club purposes. From there they began releasing their edits, and then became in-demand remixers — or "re-animators", as they call it — tackling the diverse likes of Tracey Thorn and The Chemical Brothers.
Back in 2008 the pair released a full collection of these re-animations, and that was it — but for the odd single. Then, in 2014, they worked together again, re-animating the whole of the (psych band) Temples album, and had so much fun it made sense to work on an album of their own. They are the classic modern example of being a band-not-band, then…
"I definitely don't think this is a band," says Richard. "It's a project that has come out of a love of music, rather than thinking we will write songs and go on tour."
Erol agrees, saying that for this album to be played live would take almost as much work as making the record in the first place — given the detail, the number of collaborators and interwoven use of real instruments and plenty of studio tools.
"Our strengths are sometimes working separately, then putting our heads together and working things out," he says, whilst both also agree that writing songs was always a core aim of the LP. "For a record that started as a DJ-based thing, it is quite traditional," says Richard. "It's not just full of dance tracks with one vocal line."
And that's clear when listening to it, because 'The Soft Bounce' — written mainly in Erol's Muswell Hill studio — is, largely, a listening album, rather than a playing out album. It is filled with singable and hummable moments that have very real peaks and troughs.
Take the festival rock of opener 'Delicious Light', for example, or the breezy, sun-kissed pop of 'Creation' with its soaring lyrics and slick guitar licks — these could quite easily be played on the radio and make the charts.
Mixed in along the way are dark three-minute drone tracks, Flaming Lips-style psych efforts and downward falling indie cuts with oodles of reverb and sleazy textures.
Frankly, there are many sharp left-turns and curveballs along the way, and it is that which keeps you engaged throughout.
"We had lots of talks late into the night about the sequencing. We wanted flow, but also a real degree of 'What the fuck!?'. There is an internal logic that ties everything together, but I can't explain what that is," says Richard of how they went about tying together such diverse and quite disparate strains of music into one cohesive whole.
"The flow of it alarmed me at one point," adds Erol, who played guitar, bass and keys on the album. "Musically, no two tracks are the same, even the sound of them is very different, but after a day living with the sequencing, it struck me that should be embraced. In the end, it will always sound like you, whatever you do."
Erol continues. "I think in these days we are far beyond a time when people only like one type of music. I just see this album as a story. The most potent bit of it, I hope, is its ability to connect with people. We wrote it for music lovers, not specific dancefloors, or iPods or festivals."
Norris says he enjoys working with Erol because he is "hugely talented" and works in different ways to him. "He has massive attention for detail. I'm more a broad stroke kind of guy, throwing stuff at it to see what sticks. That combination works quite well."
Erol, meanwhile, says the project works because of a shared musical DNA. "My focus is always on just making the best records possible," he says, before admitting he is "absolutely" proud of this one.
Guests feature heavily on the album. Some of them were invited to come and work on tracks together in a collaborative fashion, others were sent backing tracks and told to do whatever took their fancy.
"They are all wildly different. Some started as a seed, some were full-blown ideas," explains Erol. "There is no one way of working, and that's the thing that has been great about this record, seeing the variations in how tracks can develop when you aren't technically a band."
A roughness, rawness and realness characterises the album, and that is down to Erol preferring to work off the grid. "We went for feel, really," he says. "There is so much you can do in a studio now that the template of band vs producers doesn't really exist any more.
If you use your imagination, you can go beyond just staring at a screen and making blocks of colour work together. So, as a producer, I'm conscious of how drums feel and sound. Rather than them being just functional, I'm interested in how they rub up against other elements."
Rather than touring live, Beyond The Wizard's Sleeve will embark on a bunch of DJ gigs that will find them playing the music that informed the project. Between them, they own many thousands of records, so almost anything could happen at such gigs and they promises plenty of non-standard surprises.
"The sets are a good time to play left-of-centre stuff," Richard explains. "In Croatia last year we played everything from Can to Fela Kuti on -10, to a dance record to one of our own remixes. Pretty much everything else at the festival was a disco edit, so we had people coming up threatening to kill us, and people coming up saying they were loving it, so that balance is good."
When Joseph Mount first started making music, he always thought he would end up being a DJ, playing and making club records. It came about when his father sold him a computer and encouraged him to make electronic music. Inspired by classic staples like LFO, Aphex Twin and Autechre, he did just that, mostly as a hobby rather than with any real masterplan.
Today, though, he is best known as the core member of Metronomy, an indie-dance band that was right at the heart of the nu-rave scene back in 2008. He has pretty much been on a near-endless tour of the world since, but for his latest album decided to put a temporary stop to that.
We call him up in a rainy Paris, where the country is on strike and the Seine continues to flood. It is there that he has lived for the last few years, and there that he has been able to take stock, look back and asses his breakthrough summer of 2008. It was a mad time, by his own admission, and one that saw him and his band-mates in demand from many quarters, on plenty of magazine covers and hailed as the hottest thing of the year.
"Life is very different, and at the same time, not very different," says the Devon-born man in a crisp English accent. "We're still doing music, doing the same things, but because of some success, life is a tiny bit more luxurious."
Now a father of two young children, Joe recognises that he has real responsibilities he didn't have eight years ago, and is torn between wanting to go wild when on tour, away from home, but also wanting to relax.
He laughs heartily when asked why he has ditched his band mates (Oscar Cash, Anna Prior and Olugbenga Adelekan) for this latest album, which was written and produced by him, and him alone. The answer is that the band wanted some time off touring, though he quickly points out it is only a hiatus and not a full-time retirement.
"I think everyone, the band included, have always seen Metronomy as two different things — the live thing and the recorded thing. They are both as much Metronomy as the other, but one of them is much more me-centric."
The band's first album — the acid jazz and electro vibes of 'Pip Paine (Pay The £5000 You Owe)' — was just made by Joe and was largely instrumental. Since then, the outfit has expanded for live shows but never really been a full studio band.
"The process for writing this one was really different," he explains. "If you are working on a record and know you are going to tour it for two years, you are eager to make the songs straight-forward to play live. It can be very detrimental to a record to record it when thinking about performing it, it sucks the studio magic out of it.
So for this one I was just very relaxed and sure of the fact that playing it live wasn't going to be an immediate problem. There is a freedom that comes from that, which means you can do things much more spontaneously."
The subject matter of the new songs is personal and autobiographical. It finds Joe looking back to the intense but fun times of his breakthrough year — hence it being called 'Summer 08' — and has him processing "the guilt at spending key moments in loved ones' lives in the back of a tour bus", and the madness of finding himself a critical darling.
"We joke about that period and the glory days of nu-rave," he laughs. "We were young, 25 or something, it was a really fun age and time to be involved in a scene. But it was also a more significant time than we realised, it was the beginning of where I am now. That year, 2008, I got a first proper record deal."
Since then, the next three albums were all made in fancy major studios, but ended up leaving Joe wanting. He yearned for the naive days of that long ago summer, and wanted to make an album of upbeat bangers that were more visceral than cerebral. And he has.
'Summer 08' is brimming with crisp beats, wobbly synths and big vocal hooks. It is song-based and poppy, but full of dance-y electronic synthesis, is laden with effects and features Mixmaster Mike scratching on one of the tracks, which is a dream come true for Joe, but something that would never have happened on an album written for live performance.
"Ask most bands and they will be jealous of me doing this," he reckons, sheepishly. "You have to tour so much, it's part of being in a band, but if it was economically viable, I reckon loads of people would just do studio work."
Why be in a band at all, then? Why not stick to making dance tunes and DJing? "I guess I've always played in bands, even when making electronic music. I have always been used to four people on stage, and always felt weird performing with a laptop. When you realise part of your career will involve playing live, you want to make it feel as fun and good as possible, and that ends up pushing you down this routine of playing in a more traditional band set-up — and that in turn influences the music you are writing."
'Summer 08' might be a mere holiday from his usual working style, then, but it is a successful one. What's more, it is one that proves, despite technological advances, that there is still a key and subtle difference between being in a band and being a studio outfit.
Mostly, it comes down to the natural limitations of the men and women pushing the buttons. Until we grow extra limbs, or until promoters can afford to book bands with many more members than average, the two disciplines will always likely remain divided, however slightly.
Bands not bands Metronomy Beyond The Wizards Sleeve Death in Vegas
'Dance music can fuck right off', says Liam Gallagher
BEYOND THE WIZARD'S SLEEVE TO RELEASE DEBUT LP


text:
Illumination Entertainment and What's Ruining Animation
Gage Landauer, Feature Editor
For the last few years, the animated movie industry has changed drastically and for the worse. it has grown static with very little original ideas being produced. And I think no studio other provides a better example than the one that created Despicable Me; Illumination Entertainment.
The original Despicable Me was a perfectly okay film with decent reviews from critics and audiences and making far more than its original budget in theater profits. Despicable Me looked good at the time visually, they paid Steve Carrel to voice the main character and Jason Segal as the antagonist, the designs were cute and very marketable. The first Despicable Me was pretty good and I can admit that I have fond memories of it, but with every new film, the quality and ratings dropped.
The first Despicable Me had an 81% on Rotten Tomatoes, the second had a 75%, the third had 55% and The Minion Movie had a 58%. And as the Despicable Me movies declined in quality the rest of their content appears to have as well, it's been two years since they made a movie that got more 59% on Rotten Tomatoes. The last film they released was the Secret Life of Pets 2 which was able to make a decent amount of money in the box office while only getting 59% on Rotten Tomatoes. With these movies seeming to get worse with every sequel it was becoming apparent that we had a new studio with a poor strategy and I think this studio is a perfect example of what sickness has been plaguing the animation industry.
The last truly original idea Illumination had was a movie called Sing which was fairly enjoyable but didn't push any boundaries. Illumination makes most of their money from sequels or Dr. Seuss adaptations. And they are only developing sequels at the moment with Sing 2 and Minions: Rise of Gru.
Animation companies are getting too safe. Once you have created an iconic brand like Despicable Me or anything Disney has produced in the last few years it is easy to exploit people's love for that brand. You can almost guarantee that if you make a sequel or remake in an admired franchise it will make money or at least make back its budget without putting in much effort. Disney continues this trend with CGI remakes of their older movies, for example, Dumbo remake has a 47% on Rotten Tomatoes but was able to make 354 million dollars at the box office.
Gage Landauer, Feature Editor, writer
My name's Gage Landauer I am a senior at Yamhill Carlton high school. Interested in journalism because of the freedom it gives me to express myself....
On a scale of 1-10, what do you think of the school's lunches?
Leavenworth, a Christmas Wonderland
Writing Contest Winners And Their Stories
Yamhill-Carlton's Staff Christmas Travel and Christmas Travel Guide
Why Are Piercings So Popular?
"Jungle Cruise" Shocks Viewers All Over The U.S.
An Addictive Trilogy Called "All For The Game"
How Is School Going For You?
The Custodians at YC and What They Do
McKechnie and Clark Start fresh at Yamhill-Carlton
Madison Wood Finds Her Way Back to Her Childhood School but This Time as a Teacher!
All The YC Journal Picks Reader Picks Sort: Newest


text:
Delft Imaging
About Delft
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ensuring the highest quality care.
The need for quality diagnostics
Early and accurate diagnosis plays a crucial role in reducing the disease burden, improving treatment outcomes and optimizing health access. Since all clinical decisions and treatment initiations depend on accurate diagnosis, it is a critical success factor for reaching the next level of quality healthcare.
With the expanding middle class in emerging countries, income and health literacy are on the rise. These developments highlight the need to strengthen in-country diagnostic capacity to prevent the need to travel abroad and to achieve improved national health outcomes. It provides excellent opportunities for investors in healthcare.
High quality diagnostics are essential for reaching the next level of excellence in healthcare. Our Delft-DC in Liberia and Ghana have become national expert hubs for their regions.
Turnkey Modular Centres
Delft Imaging designs, implements and supports modular diagnostic centres as a turnkey solution. We are your one-stop partner. The modular structure of the Delft-DC will be delivered to the selected location with the requested modalities. We also support you in all stages of the project management and after-sales services.
Delft-DC are extremely scalable since their modules can be seamlessly expanded and/or upgraded to meet evolving demands. The modular design is built for scalability across the continent since the speed of delivery and installation is optimized. The centres are sustainable since they are equipped with high-end digital imaging modalities, supported by solar power, Artificial Intelligence and teleradiology for rapid and accurate diagnostic services. Waste is significantly reduced in the installation and day-to-day operations due to the modular design, making it more
environmentally friendly and cost effective.
Our centres are sustainable since they are equipped with high-end digital imaging modalities, supported by solar power, Artificial Intelligence and teleradiology for rapid and accurate diagnostic services
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The unique feature of the Delft-DC is that patients receive a complete examination and report from the on-site radiologist within 2-3 hours. This 'same-day diagnosis' is unprecedented in African countries and offers great value towards the clients.
The Delft-DC is designed to be operating in a developing country. For example, the use of the MRI scanner. It uses a new system that keeps power consumption low, which enhances both the cost-effectiveness and – with back up generators – its reliability in areas with a limited power grid.
To improve diagnosis, the on-site radiologist can use our teleradiology solution to obtain expert advice elsewhere. The same technology can be used to offer expertise to other hospitals, which strengthens the position of the DC as an expert hub in the region, and even the whole country.
Delft Teleradiology is a low-cost, user-friendly and integrated solution for image capture, image storage, (at-a-distance) diagnosis and healthcare education. Teleradiology makes it possible to exchange medical data using regular 2G or 3G mobile networks, overcoming a lack of skilled clinicians by strengthening the entire network of diagnostic centres and allowing experts in other countries to provide insight.
More about Teleradiology
Delft Projects with Diagnostic Centres
The Liberian Diagnostic Centre opened in Monrovia in 2018, supporting the need for better diagnosis in the country. The DC is the most modern Diagnostic Centre in Africa. It has the latest digital diagnostic and laboratory equipment including CT, X-ray, mammography, ultrasound, ECG and MRI.
To provide relief and support to hospitals and clinics in the area, a Diagnostic Centre (DC) that offers complete medical diagnostic services to patients was an all-round solution for the Ghanaian healthcare system. The goal of the DC is to offer excellent and rapid healthcare to patients, but at an affordable price at the same time.
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text:
In Conversation with Naresh Fernandes on Journalism and Scroll.in
Rumnique Nannar July 17, 2015
CulturePeopleRecent Stories
As the former editor of Time Out Mumbai, Naresh Fernandes is the type of jazz-loving journalist that only Rahul Khanna could slyly embody in Wake Up Sid. He's laughed this comparison off before, and sportingly calls himself a "hack for the last 25 years," but he's anything but.
Fernandes is one of Bombay's most eminent writers, whose love for the city permeates his work, whether he's uncovering its lost jazz age in the Taj Mahal Foxtrot or detailing its rapidly developing landscape in A City Adrift: A Short Biography of Bombay. Fernandes is also part of the new wave of Indian journalism as the editor and co-founder of Scroll.in, one of the leading news sites outlets that joins ScoopWhoop, and Buzzfeed India in aiming to reach out to a nation of print-readers. With the rise of news websites and social media, Scroll.in has found its niche by contextualizing the news and cutting out the sensationalism that inundates readers.
We called up Fernandes in advance of his appearance in Vancouver at two Indian Summer Festival events on July 18 to chat about his journalism career, and his new role at Scroll.in.
How did you get started in journalism all those years ago?
I've been a journalist for far too long. It'll be 25 years since I've been a hack (laughs). I started as a journalism trainee at The Times Of India in the 90s, and I got completely obsessed by how important journalism is in a society like India with such enormous challenges. How I realized early in my career is the power of the press is not cliché, that things change but things change not because of the individual journalist but because you work for a publication with the readership as enormous as The Times of India. It's public opinion that brings about public change, but to realize that is a heady thing. That bureaucrats and politicians read what's in the papers and care about it, and that's something that really fascinated me, which is why I've been a journalist for so long.
How did you get started in creating Scroll.in. Was it to facilitate a need for better journalism?
So Scroll.in is something that a friend and I had been talking about in various forms for ten years. I have a friend called Sameer Patil, who is the business brains behind this and we'd been talking about how Indian newspapers are very good at a certain level. They bring you what's happening on the day to day, but they don't quite put it into context. So, we decided we wanted to start a publication – also conversely now in the age of Twitter and TV you're being bombarded with this information all the time, but you're not quite certain why it matters – so we wanted to start a publication that would be like: these are the 20 things that are happening in India, and India as it relates to the world everyday and this is what you need to care about, because this is the truly important stuff.
How do you see the landscape of journalism changing in India today?
You know, the smartphones has truly revolutionized the way people are getting their information even though India is one of the few places where newspaper circulation are growing. This has to do with the fact that more people are learning to read every year and so they're buying newspapers. A great many people now, even in the languages, are reading on their smartphones, because as you know you can get information and you have no barriers to distribution. For instance, I've got a colleague working on a series of stories for us now in the state of Mizoram in the northeast, which is a very hilly area that's very difficult to get a newspaper to there everyday and the biggest source of information there are these curated Facebook news groups. It's getting to the stage where the administrators of those news pages are being viewed as important journalists themselves, and they're invited by the state for press conferences. So this really changes the way journalism is being distributed. In a very horrifying case two weeks ago in Uttar Pradesh, a Facebook journalist was burnt alive by a local politician, because he was writing stories on his wall about the corruption, so this just changes how we think about the forums in which journalism is being conducted.
You're an absolute master in narrative and historical journalism, but did you ever want to go into fiction writing?
Not really, I'm a boring fuddy-duddy fellow (laughs). So I look to tell stories in different ways in narrative ways, but I have no head for fiction. I need the framework of fact to start on.
You've melded the idea of history and land with your latest book A City Adrift, what got you interested in exploring this topic?
I'd been fascinated by Bombay. It's a city in which my mother's family has lived for a many hundred years and my father's family came as migrants three or four generations ago, so Bombay is city in my backyard. I see all the great cosmic and global currents playing out: the industrialization, the financialization of our society and economy, parochialism, religious conflict, and the widening gaps between rich and poor. It's a lazy man's thing to do, but I just need to stick my head outside my window and these enormous stories that playing themselves out across the world, are actually happening in my backyard.
A City Adrift is part of a series that a publisher is doing on, and loosely calling them "biographies" of Indian cities, and that's all they told us to do. When they asked me to do the Bombay one, I was trying to find a way to tell the story of Bombay in a way that hadn't been done before. I came to realize that land has been the driver of Bombay's economy and its imagination. Unlike other Indian cities, Bombay is literally a constructed city, both physically and in terms of Bombay society. People came here from other places and Bombay was reclaimed so I decided that that was perhaps the best way to tell this story.
Hear Naresh Fernandes speak about journalism & more at 5×15: 5 Speakers, 15 Minutes, at Indian Summer Festival on Saturday, July 18 at 7pm at The Imperial.
Booksindian summer festivalJournalismNaresh FernandesScroll.in
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Rumnique Nannar
Rumnique is a movie-addicted journalist and fashion maven who has been spreading the gospel of Anil Kapoor films, vintage shopping, and fashion since her early days at student newspapers and on her blog. Born in London, Rumnique has a predilection for devouring English chocolate with her Vogue, Vanity Fair and Glamour magazines in hand. Rumnique is recent graduate from the UBC Graduate School of Journalism, and keeps us on top of all things controversial and ire-worthy in pop culture.
Fashionable Photography in JJ Valaya's New Book
Manjot Bains August 19, 2011
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the Menu: Street Food, Nepali Style
Guest Writer July 2, 2013
Master Muralist + Graphic Novelist Orijit Sen Interprets Komagata Maru
Two Must-See Indian Summer Festival Events
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Top 5 Picks of Indian Summer Festival 2014
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The Taj Mahal Foxtrot & Bombay's Early Jazz Scene


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Q: Why are emails ignoring certain CSS when embedding an htm file? I'm in the testing phase so for now I have some of my css using the html selectors of certain items and it seems that they are being ignored when I send the email. Also inline stuff like hidden also get ignored. Now I'm sitting her wondering how can I send the email so that I ensure that all of the code will be send and the recipient will have everything displayed correctly?

A: Ran into the same problem last time. After some research I discovered that certain email providers support different CSS styles.
Therefore, each email provider would support different CSS styles.
Check out this tool, it allows you to find out what CSS styles certain providers support.

A: If you use postback or post data to send email, check the url.
You should to check css url and it should start with '/'
ex
<link rel="Stylesheet" type="text/css" href="/css/all.css">


text:
Общая политика безопасности и обороны (, CSDP), ранее известная как Европейская политика безопасности и обороны (, ESDP) — основной элемент Общей внешней политики и политики безопасности Европейского союза (ЕС) и сфера политики ЕС, касающаяся оборонных и военных аспектов, а также гражданского кризисного управления. ESDP был преемником Европейской безопасности и обороны () в рамках НАТО, но отличается тем, что он подпадает под юрисдикцию Европейского союза, включая страны, не имеющие связи с НАТО.

Формально Общая политика безопасности и обороны — это сфера Европейского совета, который является учреждением ЕС, в котором встречаются главы государств-членов. Тем не менее Верховный представитель Союза по иностранным делам и политике безопасности (в настоящее время Жозеп Боррель) также играет значительную роль.

Европейская политика безопасности следовала несколькими разными путями в течение 1990-х годов, развивающимися одновременно в рамках Западноевропейского союза, НАТО и в рамках самого Евросоюза.

История

Соглашение «Берлин-плюс» и отношения с НАТО

См. также
 Европейская служба внешних связей
 Военные структуры Евросоюза
 Eurocorps
 EUFOR
 Европейская жандармерия

 Эдинбургское соглашение (Дания)

Примечания

Ссылки
 Структура, инструменты и агентства CSDP, сайт EEAS
 Анализ — МИД Бельгии

Военные структуры Европейского союза

redpajama_set_name: RedPajamaWikipedia


MANHATTAN, Kan. -- A recent study in the journal Nature finds that nearly 50,000 years ago during the ice age, the landscape was not as drab as once thought -- it was filled with colorful wildflowers. These wildflowers helped sustain woolly mammoths and other giant grazing animals.
The study, "Fifty thousand years of Arctic vegetation and megafauna diet," included Joseph Craine, assistant professor in the Division of Biology at Kansas State University. It was led by the Centre for GeoGenetics at the University of Copenhagen and was a collaboration of more than 25 academic institutions and research laboratories from around the world.
The study looked at 50,000 years of arctic vegetation history to understand how fauna had changed with animals and humans.
Historically, the belief is that the ice age's landscape was covered by largely grass-dominated systems -- called steppe. These grasses were replaced by mosses and other boggy vegetation when the ice age ended nearly 10,000 years ago, Craine said.
For the study, researchers visited museums in Alaska, Canada, Norway and Russia to collect DNA samples from inside the gut of frozen mammoths, bison, horses and rhinoceros that lived in the ice age.
Molecular techniques were used to look for plant DNA in each ancient animal's digestive tract. Plant DNA was then sequenced and reconstructed to differentiate wildflowers from grasses.
"Once the gut contents and soils started getting sequenced, they began finding lots more wildflowers than before," Craine said. "Nearly half of the digested plants were wildflowers. So, rather than having this really grassy, dull system like we believe existed, it suddenly was one that was very colorful."
The study challenges the view that the arctic landscape in the ice age was largely grasslands.
"Part of the scientific debate is knowing what the past looked like," Craine said. "There have always been debates about how a region that's so cold could have supported animals that were so large. Mammoths were huge and lived on these largely barren landscapes. Now we know that they were spending a lot of time eating wildflowers, which have a lot more protein in them than grasses, which means that they could support larger animals."
Craine helped interpret data and the consequences of losing bison and other grazing animals over thousands of years in parts of the world.
Although the findings reframe 50,000 years of the past, they also are applicable to predicting the future, Craine said.
Animals' grazing and climate changes stressed and eventually reshaped the vegetation in the tundra from wildflowers and grasses to moss and marshes, he said.
"The work is important because we can use the past to help us predict the future," Craine said. "But the work really makes us reevaluate how well we understand the diets of modern animals. If we misunderstood what bison and mammoths ate 15,000 years ago, maybe we should look more closely at what bison and elephants eat today. We just might find new surprises."


text:
Q: Save protractor allure html report locally I'm using Protractor and jasmine-allure-reporter. After executing test I am getting the XML files in 'allure-results', from there I am generating the HTML report using the command "allure serve allure-results". While executing this command the html report is getting generated in the 'Temp' folder (%Temp%\8691932647422029\allure-report). I want to generate/save this report locally, how can I do that. Because after the test run I may have to share the  html report. Could you please help me on this.
Below is the Config.js part for allure-report
onPrepare: function() {
    var AllureReporter = require('jasmine-allure-reporter');

    jasmine.getEnv().addReporter(new AllureReporter());
    jasmine.getEnv().afterEach(function(done){
      //allure.addEnvironment(Path, 'Chrome'),
      browser.takeScreenshot().then(function (png) {
      allure.createAttachment('Screenshot', function () {
          return new Buffer(png, 'base64')
        },'image/png')();
        done();
      })
    });
  }

A: Please follow this setup for generating output in your local directory. 'Allure Command Line Tool' will help you to generate allure report.
Install it by running this command npm install allure-commandline --save-dev
After that, add "posttest": "allure generate allure-results --clean -o allure-report" section into your package.json. So when running the test by using npm test , the command mensioned in the posttest will generate report in your local directory. You can refer a sample script section of package.json file below.
"scripts": {
        "pretest": "rm -rf allure-report",
        "test": "protractor conf.js",
        "posttest": "allure generate allure-results --clean -o allure-report || true"
    }

In the posttest section you are refering the output directory location after --clean -o part.
Also change your conf.js file like this and add local directory path in resultsDir section to store generated xml files.
onPrepare: function () {

    var AllureReporter = require('jasmine-allure-reporter');

    //allure report
    jasmine.getEnv().addReporter(new AllureReporter({
        resultsDir: 'allure-results'
    }));

    /*
     * It will take screenshot after each Jasmine function 'it'
     */
    jasmine.getEnv().afterEach(function (done) {
        browser.takeScreenshot().then(function (png) {
            allure.createAttachment('Screenshot', function () {
                return new Buffer(png, 'base64')
            }, 'image/png')();
            done();
        })
    });

}

The current setup will generate all the xml files in allure-results and html report in allure-report folder(both are in root directory).
|-allure-results
|-allure-report
|-node_modules
|-src-|-conf.js
      |-package.json

Please refer a sample project in github


text:
Q: How to replace multiple dollar ($) signs by pound signs in a Javascript MathJax text string? In the character sequence:- $$ \sin \theta $$ I want to replace every $ by a  £.

(EDIT: I have since learned that the following approach is overkill, please ignore it. I have added an answer that relates some key learning points.  But kudos to Mister Jojo for giving the answser to the original question).

I have looked at the answers to this question:- better-way-to-escape-dollar-signs-in-the-string-used-by-string-prot.
I have tried to apply the answer of Leonid:-
var str = ..., reg = ...;
function replaceString(replaceValue) {
  return str.replace(reg, function () { return replaceValue });
}

This is my interpretation:-
var str = "$$ \sin \theta $$";
//var reg = "/\$/g" ;// TIL: reg is a regular expression so doesn't need "".
var reg = /\$/g ; //... I tried varying the number of $ and/or backslashes,` without success so far.
var replaceValue = "£";
var output = replaceString( replaceValue );

//-----------------------------------------------

function replaceString( replaceValue )
{
  return str.replace ( reg, function () { return replaceValue });
}

//-----------------------------------------------

// desired output =  "££  \sin \theta ££"
// actual output  =  "$$  sin \theta $$".

It isn't working.

A: simply use replaceAll() method

let s1 = "$$  \sin \theta $$"
  , s2 = s1.replaceAll('$','£')
  ;
console.log ( s2 )

A: Thanks to Mister Jojo, I learned that replaceAll() is the best way to go for my particular problem.

I also learnt a key point: the way a string expression is displayed depends (a) upon the way it is input and (b) upon how it is displayed.
(1) If you type $$ \sin \theta $$ into a <div> in a .html document, or into a live  textbox then debugger will show the item as $$ \\sin \\theta $$ and console.log will display it as $$ \sin \theta $$.
(2) AND if you type str = String.raw #$$ \sin \theta $$# into a javascript script, (where # represents the grave character)  then debugger will show the item as $$ \\sin \\theta $$ and console.log will display it as $$ \sin \theta $$.
(3) BUT if you type str = "$$ \sin \theta $$" into a javascript script then debugger will show the item as $$ \sin \theta $$and console.log will display it as $$ sin heta $$.

Finally I learned that regex can be avoided using the  .split function e.g:-

//Method 1 enter   $$ \sin \theta = 0.5 $$  into a <div>
//   or type/paste into a live input textbox
//    debugger shows value as  $$ \\sin \\theta = 0.5 $$
// console.log shows value as  $$ \sin \theta = 0.5 $$   == GOOD.

//Method 2 define inputStr in a script or console using String.raw
let inputStr = String.raw `$$ \sin \theta = 0.5 $$`;
// debugger    shows value as  $$ \\sin \\theta = 0.5 $$
// console.log shows value as  $$ \sin \theta = 0.5 $$   == GOOD.

//Method 3 define inputStr in a script or console
//let inputStr = "$$ \sin \theta = 0.5 $$";
// debugger    shows value as  $$ \sin \theta = 0.5 $$
// console.log shows value as  $$  sin  heta = 0.5 $$    == BAD.

let tempArray = inputStr.split("") ;
var numChars = tempArray.length;

//... Replace HOT characters (e.g. "$" "\") by COOL characters (e.g. "£" "@" )

var outVal="";
for (var iii = 0; iii < numChars; iii++ )
{
    var aVal = tempArray[iii];
    if      ( aVal == "$" ) {aVal = "£"}
      //else if ( aVal == "\" ) {aVal = "@"} ; // --> js error
    else if ( aVal == "\\") {aVal = "@"} ; //... to replace single backslash

    outVal += aVal;
}

//... Test that string can be converted back ...

var checkVal = "";
for (var iii = 0; iii < numChars; iii++ )
{
    var cVal = outVal[iii];
    if      ( cVal == "£") {cVal = "$" }
    else if ( cVal == "@") {cVal = "\\"} ;
    checkVal += cVal;
}
console.log (" input string    =", inputStr);
console.log ("converted outVal =", outVal  );
console.log ("        checkVal =", checkVal);

// Actual results in console.log using method 2:-

//  input string    = $$ \sin \theta = 0.5 $$
// converted outVal = ££ @sin @theta = 0.5 ££
//         checkVal = $$ \sin \theta = 0.5 $$


text:
Hitomi to show how its MatchBox Latency option takes the guesswork out of through delay at IBC
By TVBEurope Staff
Hitomi Broadcast's MatchBox now measures the delay between an event happening in real life and seeing it in picture – latency. Taken either from the front of multiple cameras or at various points through the broadcast chain, readings are displayed in real time with milli-second accuracy. MatchBox Latency further strengthens Hitomi's applications for remote and virtual productions.
Typically, live broadcast workflows add delay which can vary each time. Different paths need to be synchronised for a seamless viewer experience. For example, in golf coverage graphics that show the trajectory of the ball can take up to a second to generate. If this latency is overcompensated for, you see the flight of the ball before the golfer hits it. The same principle applies when cutting between cameras with different delays, including drones, wired, shoulder-held etc.
Latency can creep up if left unmeasured. The causes of extra latency can frequently be accidental. For example, inherited settings from the last event or pieces of equipment in the chain not actually required. Low latency is essential in order to keep a broadcast "truly live" – how annoying would it be to receive a text from a friend at the game about the goal which hasn't been seen yet on television?
Live interviews between studio presenters and a remote correspondent require low latency links for a true two-way interactive conversation – audiences dislike long pauses waiting for replies. MatchBox Latency can measure the speed of links in order to ascertain if faster ones are necessary.
Determining offsets theoretically can take up a lot of engineering time; with MatchBox it takes just a matter of seconds. Hitomi's system is fast, easy to use and accurate, simplifying the task of measuring latency and delivering a lip-sync reading as well.
MatchBox is a two-part solution. A timed test pattern is launched as the source with a bespoke analyser receiving and decoding it at the destination resulting in the timing measurement. This method can be thought of as a multi-meter for signal timing with a probe at each end of the section of interest.
The test pattern can originate from either MatchBox Generator or using an iOS device held in front of the camera running our free Hitomi Glass app. A licence is required to decode the latency signal but not to send it. Existing users can simply upgrade their Generator software for free to create the timed signal. This added functionality is invaluable in multivenue events across several geographic locations, where multiple broadcasters must work together.
Hitomi's broadcast director, Russell Johnson, said, "The customers I have visited using latency have found it to be a game changer. Their workflow is now to check that the latency is what they were expecting first then follow it by measuring lip-sync. This is because if video latency is longer than expected then the lip-sync will be out. Audio arriving early is most disconcerting to viewers as in real life we rarely hear things before we see them.
"The need for "low latency" is much talked about, but rarely quantified," Johnson continued. "With MatchBox it can be. As the system is already deployed worldwide with major name broadcasters, widespread adoption of this new technology can be rapid."
This product is designed to help broadcasters prepare for live transmissions as well as virtual studios and other applications where timing needs to be known, not guessed. It can form part of a remote production toolset helping broadcasters move to more eco-friendly workflows whilst still retaining quality.
Stand 10.A42
TVBEurope Staff
Tags ⋅ Ibc ⋅ hitomi ⋅ IBC 2022
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