text:
← Do not permit the politics of the big powers to decide the fate of the world
Boston Globe: The media is misleading the public on Syria →
The Case Against To Kill a Mockingbird
On February 19, news agencies announced the death of the American author Harper Lee. The Toronto Star warmly eulogized a writer "whose child's-eye view of racial injustice in a small Southern town, To Kill a Mockingbird, became standard reading for millions of young people and an Oscar-winning film." Published in 1960, it received the Pulitzer Prize and George Bush awarded Lee the 2007 Presidential Medal of Freedom in a ceremony held at the White House. In 2015, fifty five years later, Robert Murdoch's HarperCollins published Lee's Go Set A Watchman, only her second novel but actually written prior to Mockingbird. Watchman sold more than 1 million copies and was described as "the fastest selling" book in HarperCollins' history. It was called a "fraud" and an "epic money grab" in the New York Times.
In 1996, "intense community pressure" by the African Canadian community in Nova Scotia successfully managed to remove this and two other novels from the Department of Education's list of recommended, authorized books. They meant that they could no longer be purchased from the provincial government.
In 2002, a committee consisting of parents and educators, seconded by members of the Black Educators' Association (BEA), recommended that the book "be removed from school use altogether." Further, the community courageously boycotted a theatrical production in Halifax on the basis that it did not reflect the black experience and falsified historical reality.
A report (by the African Canadian Division of the Nova Scotia Department of Education) "laid out the community's concerns":
In this novel, African-Canadian students are presented with language that portrays all the stereotypical generalizations that demean them as a people. While the White student and the White teacher many misconstrue it as language of an ealier era or the way it was, this language is still widely used today and the book serves as tool to reinforce its usage even further. . . .
The terminology in this novel subjects students to humiliating experiences that rob them of their self-respect and the respect of their peers. The word 'Nigger' is used 48 times. . . .
There are many available books which reflect the past history of African-Canadians or Americans without subjecting African-Canadian learners to this type of degradation. . . We believe that the English Language Arts curriculum in Nova Scotia must enable all students to feel comfortable with ideas, feelings and experiences presented without fear of humiliation . . . To Kill a Mockingbird is clearly a book that no longer meets these goals and therefore must no longer be used for classroom instruction.
However, pandemonium broke loose all over the printed press, radio and television media, nationally and internationally. In the main Canadian and provincial newspapers, some twenty-eight articles appeared in short order. The book was lauded as a classic, a paragon of anti-racist literature and, therefore, untouchable and sacrosanct. Both the monopoly and alternative media responded by orchestrating a provocation, falsely claiming that the community was demanding that Mockingbird be banned, i.e., censored.
Professor Isaac Saney of Dalhousie University, in an academic article in the journal Race and Class wrote, "The arguments advanced by the Black community were consistently presented in a non-serious, even risible, light so as to give the impression that the Black educators and parents are ignorant of the merits of literature, mere emotional whiners and complainers, belonging to a hot-headed fringe. For example, after the decision was made to keep the books in the curriculum, the Halifax Daily News in an editorial was 'relieved cooler heads have prevailed', reproducing the racist notions of inherent Black emotionality versus the rationality of white society." [2]
The following article by Prof Saney provides information for readers pertaining to the claims promoting it as an exceptional, anti-racist work, which will help them evaluate the consensus of the media and liberal intelligentsia that Mockingbird is a progressive and morally superior literary work.
Ironically, Lee's Watchman validates the just stand of African Nova Scotians and others, portraying as it does the fictional figure Atticus Finch heroized by Mockingbird and Hollywood at a younger age, twenty years earlier in his life, as a hidebound racist and a Ku Klux Klan member of a "citizens' council," who says things like "The Negroes down here are still in their childhood as a people." [3] These semi-official agencies were one of the mechanisms for racial brutality in the early 20th century and condemning African Americans to civil death, an era that played its role in shaping the racism of so-called post-racial America today. – Tony Seed
There is better literature available that reflects the black experience
BY ISAAC SANEY*
Once again, the media has launched a barrage over a school board refusing to allow its students to see a theatrical production of To Kill a Mockingbird mounted by the Neptune Theatre in Halifax. The furor and ensuring debate over the African Nova Scotian community's opposition to the use of this novel has tended to oversimplify and obfuscate the central reasons surrounding the need to remove Harper Lee's novel from the classroom.
The reasons do not centre solely on the use of racist epithets and the 'n' as the media disinforms us. The use of racist slurs or negative and debased imagery is not the only basis upon which to determine the racist or antiracist character of a book.
There are deeper justifications for insisting that the novel not be part of the curriculum.
Central to the view that To Kill a Mockingbird is a solidly an inherently anti-racist work is the role of Atticus Finch, the white lawyer, who defends Tom Robinson, the black man wrongly accused of raping a white woman. Atticus goes so far as to save Tom from a lynching.
However, this act has no historical foundation. The acclaimed exhibition Without Sanctuary: Lynching Photography in America, sponsored by the Roth-Horowitz Gallery and the New York Historical Society, documented more than 600 lynchings.[1]
Lynchers often paraded their victim down the main street, through black neighbourhoods, and in front of "colored schools" that were in session.
Jesse Washington, seventeen years old, was the chief suspect in the May 8, 1916, murder of Lucy Fryer of Robinson, Texas, on whose farm he worked as a labourer. Over 10,000 spectators, including city officials and police, gathered to watch the attack. After the lynching, Washington's corpse was placed in a burlap bag and dragged around City Hall Plaza, through the main streets of Waco, and seven miles to Robinson, where a large black population resided. His charred corpse was hung for public display in front of a blacksmith shop.
From the exhibition "Without Sanctuary: Lynching Photography in America." Photo courtesy of The New York Historical Society.
As Lyon Litwack, a Berkely professor, observed: "The bulk of the lynchers tended to be ordinary people and respectable people, few of whom had any difficulties justifying their atrocities in the name of maintaining the social and racial order and the purity of the Anglo-Saxon race."
Partisans of the book frequently invoke the lecture Miss Atkinson delivers to Atticus's daughter, Scout. These lines define the book:
"Mockingbirds don't do one thing but make music for us to enjoy. They don't eat up people's gardens, don't rest in corncribs, they don't do one thing but sing their hearts out for us. That's why it's a sin to kill a mockingbird."
Do these lines, as some assert, embody the loftiest ideals and sentiments?
Harper Lee's motives notwithstanding, they are not a paean to the intrinsic equality and humanity of all people, nor do they acknowledge that blacks are endowed with the same worth and rights as whites.
Those media that dither editorially "on the one hand… on the other …" or whip up campaigns in defence of freedom of speech or against censorship play precisely the waiting game that gives racism and its proponents new life. Let others pontificate about how all that is necessary for Evil to prevail is that good people do nothing. I seriously question how good – and what good – those people are who would sooner rail against the danger of "censorship" than put down the plague right under their nose. Such complacency borders on collaboration, intended or otherwise, with the open racists and fascists.
He who slings mud loses ground, and the media's muck-hurling against all "censorship" (including censorship of racism) and for freedom of speech (including freedom of speech for racists) just deepens the hole into which their credibility tumbled quite helplessly some time ago.
By foisting this mockingbird image on African Americans, the novel does not challenge the insidious conception of superior versus inferior "races", the notion of those meant to rule versus those meant to be ruled.
What it attacks are the worst – particularly violent – excesses of the racial social order, leaving the racist social order itself intact.
It presents the outlook of the 'enlightened' versus the unenlightened slave owner, who wishes to preserve the value of his human property – the beast of burden – to labour for his benefit and enjoyment.
In short, as Malcolm X would have said, it presents the outlook of the "enlightened" versus the unenlightened slave owner, who wishes to preserve the value of his human property – the beast of burden – to labour for his benefit and enjoyment. Perhaps the most egregious characteristic of the novel is the denial of the historical agency of black people.
They are robbed of their role as subjects of history, reduced to mere objects who are passive, hapless victims: mere spectators and bystanders in the struggle against their own oppression and exploitation.
Ah, this is the rub! Black people have been the central actors in their movement for liberation and justice: from widespread African resistance to and revolts against slavery and colonialism to the 20th century's mass movements challenging segregation, discrimination and imperialism.
Yet, To Kill a Mockingbird confounds the relationship between whites of conscience and the struggles of the black community. It was African North Americans who took up the task of confronting racism and who, through weal and woe, trial and tribulations, carried – and still carry – on the battle for equal rights and dignity. Those whites who did make significant contributions – especially, those of radical ilk, such as members of the Communist Party, as opposed to liberal circles – gave their solidarity in response.
The black community does not want the book banned, but asserts there is much better literature available that reflects the black experience that should be used instead. For example, Invisible Man by Ralph Ellison; Native Son by Richard Wright; Their Eyes Were Watching God by Zora Neale Huston; The Autobiography of Malcolm X; Beloved and The Bluest Eye by Toni Morrison; Whylah Falls by George Elliott Clarke; and Consecrated Ground by George Boyd.
*Dr Isaac Saney is Director, Transitional Year Project, Dalhousie University, and on faculty of Dalhousie and Saint Mary's University, Halifax.
Source: Shunpiking Magazine, Volume 9, No.47, October 2005. A shorter version of this article appeared in the Halifax Daily News, 9 May 2002
TS Endnotes
[1] To learn more about the New York Historical Society's exhibition, see James Allen, et al., Without Sanctuary: Lynching Photography in America (Santa Fe, NM: Twin Palms Publishers, 2000) or visit the website. Allen collected some 600 photographs of lynching, many of them postcards. They mainly depict black men with hideously elongated necks, swinging sometimes in threes and fours at the end of ropes tied to light poles, trees or gallows. One of the most frightening pictures shows hundreds of well-dressed men in a field, pressing forward for a better view of a naked man who has just been hanged and is now being mutilated and burned on a pyre. An anti-lynching movement eventually brought this vicious horror to an end; it included such activists as James Weldon Johnson, Paul Robeson, W. E. B. Du Bois and the heroine of the movement, Ida Wells-Barnett. However, the past three years demonstrate that the practice of officially-sanctioned, extra-judicial police murders of African-Americans continues in another form to date.
[2] Race & Class, July–September 2003 45 (1), pp. 99–110. (Download PDF Mockingbird)
[3] Reviews in the Anglo-American world such as this one in the Halifax Chronicle Herald performed contortions condemning Go Set A Watchman, while reverently hailing an author "who, in 1960, gave her heart to readers."
Filed under Canada, United States
Tagged as African American, African Canadian, Arts & Culture, Black History, Books, Falsification of history, Harper Lee, More articles by Isaac Saney, More articles by Tony Seed, Nova Scotia, Segregation, Toronto Star, U.S. - Civil Rights Movement


After a while, the furious winds lulled a bit.
His father's arrival lulled the boy's anxiety.
The peaceful sound of the rain lulled his worries and anxieties.
Tags: lull meaning in hindi, lull ka matalab hindi me, hindi meaning of lull, lull meaning dictionary. lull in hindi. Translation and meaning of lull in English hindi dictionary. Provided by KitkatWords.com: a free online English hindi picture dictionary.


text:
Net Worth Lauri MF Garcia
Lauri MF Garcia
Lauri MF Garcia's source of wealth comes from being a youtuber. How much money is Lauri MF Garcia worth at the age of 20 and what's her real net worth now?
As of 2022, Lauri MF Garcia's net worth is $100,000 - $1M.
Lauri MF Garcia (born March 5, 2001) is famous for being youtuber. She currently resides in Mexico. Social media star who has gained fame for her LauriMFGarcia YouTube channel. She has earned massive popularity for her beauty vlogging through Get Ready with Me's and routines alongside lifestyle content.
March 5, 2001 (age 20)
Lauri MF Garcia is a Pisces and was born in The Year of the Serpent
Lauri MF Garcia was born in Mexico on Monday, March 5, 2001 (Generation Z). She is 20 years old and is a Pisces. She has amassed more than 100,000 YouTube subscribers. She has also gained more than 80,000 followers to her l.auriiiiii Instagram account.
She launched her YouTube channel in March 2016. The education details are not available at this time. Please check back soon for updates. Lauri MF Garcia is a member of Richest Celebrities and YouTubers.
Lauri is turning 21 years old in
She and Jackie Hernández are both famous Mexican beauty vloggers on YouTube. Lauri is a Pisces. Pisces, a water sign, is the last constellation of the zodiac. It's symbolized by two fish swimming in opposite directions, representing the constant division of Pisces's attention between fantasy and reality. Pisces is ruled by Neptune, the celestial body that governs creativity and dreams, and these ethereal fish adore exploring their boundless imaginations. Pisces effortlessly adapts to their surroundings.
Lauri MF Garcia fans also viewed
Lauri MF Garcia's net worth
Online estimates of Lauri MF Garcia's net worth vary. While it's relatively simple to predict her income, it's harder to know how much Lauri has spent over the years.
Continue to the next page to see Lauri MF Garcia net worth, estimated salary and earnings.

redpajama_set_name: RedPajamaCommonCrawl


text:
What Now est une chanson de l'artiste barbadienne Rihanna. La chanson est sortie en tant que  single de l'album Unapologetic, le . La chanson a été écrit par Livvi Franc, Rihanna, Parker Ighile, Nathan Cassells et produit par Parker Ighile, Nathan Cassells et Kuk Harrell. Le clip de la chanson est sorti le  sur la chaîne VEVO de Rihanna sur Youtube. Le single s'est vendu entre 3 et 4 millions d'exemplaires.

Certifications

Références

Chanson interprétée par Rihanna
Single musical sorti en 2013
Single numéro un dans le Hot Dance Club Songs
Chanson écrite par Rihanna

redpajama_set_name: RedPajamaWikipedia


Brio Tower is the first pre selling condominium development of DMCI Homes in Makati City, Philippines.
No Spot Downpayment required! 30% Minimum downpayment can be paid in installment 0% Interest Rate. Balance via In-House Financing or Bank Financing.
Only 2 Bedroom Residential units are available as of September 2015. All 1 Bedroom and 3 Bedroom Units are SOLD OUT!
All information will be kept confidential and will not be used for spamming purposes. Upon receipt of your inquiry our professional In-House Property Consultant will get back at you as soon as possible.
What are DMCI Homes Closing Fees?
Theme: Real Estate by Pixel Tribe.


text:
Nearly 7 Million Dropbox Passwords Have Been Hacked
Flickr/Ian Lamont/Dropbox In 30 Minutes
Nearly 7 million Dropbox usernames and passwords have been hacked, apparently via third-party services that hackers were able to strip the login information from.
The Next Web was the first to notice the leak on a site called Pastebin, where hackers have already leaked about 400 accounts. The hackers promise to release more accounts in return for Bitcoin donations. The hackers claim to have over 6.9 million email addresses and passwords belonging to Dropbox users.
In a statement, Dropbox denied it was hacked:
Dropbox has not been hacked. These usernames and passwords were unfortunately stolen from other services and used in attempts to log in to Dropbox accounts. We'd previously detected these attacks and the vast majority of the passwords posted have been expired for some time now. All other remaining passwords have expired as well.
That means Dropbox has already expired the 400 logins that have been leaked so far. But it's unclear if the logins of the nearly 7 million other Dropbox users the hackers claim to have are still safe. A Dropbox spokesperson told Business Insider that Dropbox consistently expires passwords for accounts that are being attacked, but could not provide a number of accounts expired recently. That means it's possible that there are nearly 7 million other Dropbox accounts still vulnerable.
It's a similar response to the one Snapchat had when hackers were able to obtain about 100,000 photos from the service through a third-party app. Snapchat claimed its servers weren't hacked, but the servers of a third-party app designed to save Snapchat photos were.
The real problem in both cases appears to be the way popular services allow users to log in. Even though Dropbox's own servers weren't hacked, the service still allows third parties access. It's also possible for hackers to hack other sites and cross reference the login information with services like Dropbox since many people use the same logins for multiples services. Those third parties have become the target for hackers to obtain personal information. Assuming the hackers do have the login information for 7 million Dropbox accounts, it's unclear how they were able to associate that information from a third-party service and apply it to Dropbox. A Dropbox spokesperson couldn't elaborate.
This is an alarming trend. Services like Dropbox, Snapchat, and Apple have pushed blame on users and other third parties following recent hacks when it's clear they're not doing enough to scrutinize the kinds of apps that have access to their platforms or guarantee users their logins won't be "expired" of their information is compromised.
More: Dropbox


text:
YASMIN SMITH
» 16/12/2021: Yasmin Smith is exhibiting a new wall-based ceramic installation in Rethinking Nature at Museo Madre, Naples (IT) curated by Kathryn Weir and Ilaria Marion. Smith's work, Terra Dei Fuochi, focusses on a symbiotic earth-healing relationship between humans and plants. The work is named after a region of Campania in Southern Italy, between the North of Napoli and the South of Caserta, known to have been heavily polluted through the mismanagement of urban waste disposal and an illegal Camorra-led waste disposal enterprise, beginning in the 1980s. The name Terra Dei Fuochi describes the fires and plumes of black smoke that were commonly seen in agricultural fields and along roadsides where waste was illegally burnt and buried. Smith conceived the project establishing a collaboration with a Professor of Agronomy, Massimo Fagnano from the University of Napoli, who provided Smith with 500kg of poplar wood and leaves from an experimental phytoremediation plantation, an open-air laboratory called San Giuseppiello. This land was seized by the government in 2008 and the process of phytoremediation began in 2015 with the planting of 20,000 poplar trees. Labour source is an ongoing concern in Smith's work. Due to covid travel restrictions stopping Smith from going to Italy, Terra Dei Fuochi was executed by local ceramicist, Angelica Tulimiero, to Smith's instructions. Smith exhibited a related work in Sustaining Assembly - Pratiche artistic per una transizione ecologica dal basso' at PAV, Turin, earlier this year. exhibition dates: 17/12/21 – 02/05/21
» 18/11/2021: Yasmin Smith's ambitious ceramic installation, Open Vase Central Leader Widow Maker, acquired by Shepparton Art Museum in 2017, is on exhibition as part of Flow: Stories of River, Earth and Sky in the SAM Collection to coincide with the reopening of the new SAM from 20/11/21.
» 18/10/2021: Yasmin Smith's Salt Harvesting Vessels, a component from her vast ceramic installation, Drowned River Valley (2017-2018), produced for the 21st Biennale of Sydney, curated by Mami Kataoka, is currently on display at the Powerhouse Museum, Ultimo, as part of Clay Dynasty: 50 Years of Australian Studio Ceramics. Drowned River Valley is a site-specific process-based exploration of the presence of salt in the waters around Cockatoo Island and in the Parramatta River and the role that salt plays in the river's ecology and in human-based socio-economic systems historically along the river. The huge volume of material components of Drowned River Valley was collected and processed by Smith over the course of 2017-2018 and continued during the months of the Biennale on Cockatoo Island. There, hundreds of salt-glazed salt-harvesting vessels made from clay that Smith produced from the pulverised sandstone waste from the nearby Barangaroo headland excavation, were produced and fired on site in a purpose-built salt kiln. As part of the work's process, Smith invited visitors to the Island during the Biennale to contribute their labour to the project by hand modelling small salt harvesting cups. The salt needed for the salt kiln firing process for the cups came from thousands of litres of Sydney Harbour water which Smith evaporated both by months-long solar evaporation off-site and a more accelerated evaporation process over steel grid furnaces onsite during the course of the Biennale exhibition. Clay Dynasty at the Powerhouse Museum, Sydney continues until 29/01/23.
» 07/10/2021: Congratulations to Yasmin Smith selected for the 10th Asia Pacific Triennial of Contemporary Art (APT10) at Queensland Art Gallery | Gallery of Modern Art, Brisbane. Smith will be exhibiting her 2018 installation, Flooded Rose Red Basin, made in Chengdu, China and exhibited in Cosmopolis #1.5: Enlarged Intelligence in Chengdu (presented by Centre Pompidou and the Mao Jihong Arts Foundation). We are thrilled also to announce that the entire Flooded Rose Red Basin ceramic installation has been acquired for the QAG|GOMA collection. APT10 exhibition dates: 04/12/21 – 28/04/22.
» 31/03/2021: Yasmin Smith's major new ceramic installation, Terroir, is now on exhibition at TarraWarra Museum of Art as part of the TarraWarra Biennial 2021: Slow Moving Waters, curated by Nina Miall. Terroir is the result of Smith working directly with grape vines and viniculturists on the TarraWarra Estate. Images of Yasmin Smith's Terroir are now on The Commercial website. exhibition at TarraWarra Museum of Art 26/03/21 - 11/07/21.
» 25/03/2021: Yasmin Smith is exhibiting two recently-fired ceramic branch bundles from her seminal 2015 Ntaria Fence glaze project in the group exhibition On Earth at QUT Art Museum in Brisbane. Curated by Sarah Werkmeister, "On Earth traces conceptions of landscape and the environment as it is expressed and represented through the poetic devices of art." Artists include Robert Andrew, Ray Beattie, Ian Burn, Michael Cook, Dean Cross, Nici Cumpston, Bonita Ely, Emma Fielden, Greg Forsyth, Mirdidingkingathi Juwarnda Sally Gabori, Kinly Grey, Dale Harding, Isaac Walter Jenner, Jillian Namatjira, Claude Pannka, Toni Robertson, Joe Rootsey, Kate Shaw, Sancintya Mohini Simpson, Yasmin Smith, Warraba Weatherall, Keemon Williams, Women's Domestic Needlework Group and two historical works by artists once known. exhibition 27/03/21 - 06/06/21
» 10/03/2021: The Museum of Contemporary Art Australia has included Yasmin Smith's recently acquired ceramic installation, Seine River Basin, commissioned in 2019 by Centre Pompidou (Paris), in the new collection exhibition, MCA Collection: Perspectives on place. Seine River Basin will be on view at the MCA until 04/09/22.
» 01/02/2021: Yasmin Smith was commissioned to make a new work for the group exhibition Tree Story at Monash University Museum of Art. Tree Story, curated by Charlotte Day with Dr Brian Martin, Associate Dean, Indigenous, Monash Art Design & Architecture, "brings together creative practices from around the world to create a 'forest' of ideas relating to critical environmental and sustainability issues. At its foundation—or roots—are Indigenous ways of knowing and a recognition of trees as our ancestors and family." Artists include Brook Garru Andrew (AU), Yto Barrada (FR/MA), Berdaguer & Péjus (FR), Joseph Beuys (DE), Tania Bruguera (CU), Hayley Panangka Coulthard (AU), Nici Cumpston (AU), Agnes Denes (HU/US), Yanni Florence (AU), Ceal Floyer (UK), Henrik Håkansson (SE/DE), Sandi Hilal and Alessandro Petti (PS/IT), Beth Mbitjana Inkamala (AU), Judith Pungarta Inkamala (AU), Tim Johnson (AU), Reena Saini Kallat (IN), Peter Kennedy (AU), Olga Kisseleva (RU/FR), Janet Laurence (AU), MAIX Reserved Forest (MY), Brian Martin (AU), Kent Morris (AU), Peter Mungkuri OAM (AU), Uriel Orlow (CH/UK), Jill Orr (AU), Katie Paterson (UK), Ed Ruscha (US), Yasmin Smith (AU), Daniel Steegmann Mangrané (BR/ES) and Stelarc (AU). exhibition 06/02/21 - 10/04/21.
» 20/11/2020: Congratulations to Yasmin Smith, announced this week as an exhibiting artist in the TarraWarra Biennial 2021: Slow Moving Waters, curated by Nina Miall. The exhibition will feature 24 Australian artists making new works that explore ideas of slowness, deceleration, drift and the elasticity of time. Smith is developing a new ceramic installation for the exhibition. 27/03/21 – 11/07/21
» 01/10/2020: Huge congratulations to Yasmin Smith who tonight was awarded the $30,000 2020 Fauvette Loureiro Memorial Scholarship for a mid-career/established artist for her ceramic installation Flooded Rose Red Basin. The award exhibition is at the newly-opened Sydney College of the Arts Gallery on the main campus of the University of Sydney. Exhibition details: SCA Gallery, The Fauvette Loureiro Memorial Scholarship, 02/10/20 - 13/11/20, Monday - Friday, 11am-5pm, via appointment only: email: [email protected]
» 13/08/2020: It is a pleasure to announce that Yasmin Smith's Bundles of Ntaria branches 4 and 8, early examples of the artist's site-derived glazes, have been acquired by the Art Gallery of New South Wales, Sydney.
» 19/07/2020: It is a pleasure to announce that Yasmin Smith's major ceramic installation, Seine River Basin, exhibited in 2019 at Centre Pompidou, Paris, in Cosmopolis #2 - Rethinking the Human, curated by Kathryn Weir, has been acquired by the Museum of Contemporary Art Australia.
» 30/05/2020: 'Portraits of the artists in isolation' - Yasmin Smith in today's Sydney Morning Herald and The Age.
» 18/05/2020: The Commercial will be open 11am - 4pm for the final two Saturdays of our current group exhibition, The Humanity. The exhibition presents two new works each by Diena Georgetti, Patrick Hartigan, Oscar Perry, Jude Rae and Yasmin Smith and two late works by Gunter Christmann. Saturdays 23/05/20 and 30/05/20.
» 22/04/2020: As part of the program for The Humanity, a group exhibition with new work by Diena Georgetti, Patrick Hartigan, Oscar Perry, Jude Rae and Yasmin Smith and late work by Gunter Christmann, Oscar Perry will be presenting a music set on The Commercial's Instagram, from 3pm AEST Saturday 25/04/20. We hope you can join us. The artists in the exhibition will be taking over The Commercial's Instagram each week of the exhibition: Oscar Perry: 29/04/20 - 02/05/20; Patrick Hartigan: 06/05/20 - 09/05/20; Yasmin Smith: 13/05/20 - 16/05/20; Jude Rae: 20/05/20 - 23/05/20; Diena Georgetti: 27/05/20 - 30/05/20.
» 08/11/2019: Full video documentation, by Associate Curator Ilaria Marion, of Yasmin Smith's artist talk at Centre Pompidou, Paris, on 07/11/19 as part of the public programs for Cosmopolis #2. 50 minutes.
» 06/11/2019: An interview with Yasmin Smith on the Centre Pompidou's YouTube channel about her work, Seine River Basin, for Cosmopolis #2: rethinking the human.
» 02/11/2019: Yasmin Smith is giving a one hour artist talk, Decolonialising Ecologies, at Centre Pompidou, Paris, as part of the public programs associated with the exhibition, Cosmopolis #2 - rethinking the human. Thursday 07/11/19, 6.30-800pm in the Cosmopolis exhibition.
» 01/11/2019: Yasmin Smith is exhibiting in a group exhibition of Parramatta Artist Studios artists (Kalanjay Dhir, Rebecca Gallo, Yasmin Smith, Anthony Macris and Tom Polo) at the Ideas Platform at Artspace, Sydney. Opening Friday 15/11/19, 6-8pm. Exhibition 16/11/19 - 15/12/19. Smith will be presenting a reconfiguration of part of her ceramic installation produced in Chengdu, China last year for Cosmopolis #1.5 for the Centre Pompidou.
» 24/10/2019: Cosmopolis #2 - rethinking the human, curated by Kathryn Weir at Centre Pompidou, Paris is now open and continues until 23/12/19. Documentation of Yasmin Smith's major new ceramic installation, Seine River Basin, is now on The Commercial website.
» 19/07/2019: Yasmin Smith is on residency in Paris for four months, supported by the Australia Coucil for the Arts, researching and developing a new ceramic work to be exhibited at Centre Pompidou in late October as part of Cosmopolis #2.0, curated by Kathryn Weir. The current project follows Yasmin's work in Chengdu, China last year where she also participated in #1.5 of the Pompidou's new biennial exhibition platform.
» 04/05/2019: Yasmin Smith has been on a residency in Tasmania during April developing a new work for the Australian Ceramics Triennial. She has created two new glazes from two species of hydrowood, trees that have been submerged since the 1980s from the damming of the Lower Pieman River during the building of the hydroelectric scheme. Images of her three-part installation, Lower Pieman, are now on The Commercial website. Lower Pieman presents a record of grand scale human intervention into nature at the point at which carbon, hydrogen and oxygen cycle though the ecosystem as water and wood. Australian Ceramics Triennial, 1- 4 May.
» 04/01/2019: As Cosmopolis #1.5 - Enlarged Intelligence in Chengdu, China, draws to a close (ends 06/01/19), individual artist pages including video documentary footage with Yasmin Smith are now published on the Cosmopolis #1.5 website.
» 21/12/2018: The digital catalogue documenting the 21st Biennale of Sydney: Superposition - Equilibrium & Engagement (curated by Mami Kataoka) is now available online, with new essay and images for Yasmin Smith's Drowned River Valley.
» 13/12/2018: Photodocumentation of Yasmin Smith's work and seven-week residency for Cosmopolis #1.5: Enlarged Intelligence, Mao Jihong Arts Foundation in collaboration with the Centre Pompidou, in Chengdu, China, is now on The Commercial's website.
» 02/11/2018: Yasmin Smith is exhibiting work with the Mao Jihong Arts Foundation in collaboration with the Centre Pompidou in Chengdu, China. The exhibition, curated by Kathryn Weir, is titled 'Cosmopolis #1.5: Enlarged Intelligence' and presents artworks and programs by almost 60 artists and artist groups. 'The Cosmopolis platform, launched by the Centre Pompidou in 2016, constructs bridges between new forms of artistic practice and research, between conceived geographies and histories. Cosmopolis #1.5 engages with urban and rural space and the shifts in the dynamic between them due to the digital economy and other technological, ecological and cultural shifts. Yasmin Smith's work represents the culmination of a residency in Sichuan's "Red Basin" where she worked with bamboo, eucalyptus and tea plantations, finding ways of materializing the ecological intelligence of different species of plants, through combining ceramics with chemistry and environmental science.' Exhibition dates: 03/11/18 - 06/01/19
» 05/10/2018: Yasmin Smith is currently in residence in Chengdu, China, developing a new ceramics installation for Cosmopolis #1.5: Enlarged Intelligence, a major exhibition organised by the Centre Pompidou, Paris, in collaboration with the Mao Jihong Arts Foundation, Chengdu. Smith's resulting work will be presented in an exhibition 02/11/18 – 06/01/19. Cosmopolis #1.5: Enlarged Intelligence, curated by Kathryn Weir (Head of Cultural Development, Centre Pompidou), with associate curator Ilaria Conti and curatorial advisor Zhang Hanlu, presents artworks and programs by almost 60 artists and groups, exploring ecology, technology and the commons, and envisioning how we today may draw on intelligent technologies, as well as on ecological intelligence, to advance social values—rather than leaving capital to largely define the uses of these techniques and knowledge systems. The Cosmopolis platform was launched by the Centre Pompidou in 2016 to highlight research-based creative practices that are rooted in a particular context yet engage in international conversations, reflecting on cultural translation and the situatedness of knowledge. The first two-year cycle, centered on collaboration and collective practice, culminated in the exhibition Cosmopolis #1: Collective Intelligence. Cosmopolis #1.5: Enlarged Intelligence is the second major exhibition associated with the platform. Website www.cosmopolischengdu.com.
» 19/08/2018: The Commercial is open by appointment only during August. Yasmin Smith's Drowned River Valley will continue during this period but only viewable by appointment during regular gallery hours. Please email the gallery to arrange a visit.
» 17/07/2018: Yasmin Smith is featured in The Journal of Australian Ceramics, July Issue, with coverage by Jan Guy.
» 07/07/2018: Yasmin Smith is featured in the current Art Collector magazine. Coverage by Rachel Tolosa Paz.
» 31/05/2018: Coverage of Yasmin Smith's work 'Drowned River Valley', 2018, is included in The Monthly review of the Sydney Biennale, '21st Biennale of Sydney', by writer and curator Julie Ewington. "Australian Yasmin Smith has set up a workshop transforming her clays, Parramatta River mangrove wood for glazes, and the salt of Sydney Harbour in a beautifully calibrated process that will endure throughout the exhibition; her drying room, on the island's upper level, is physically separate but conceptually integral." [excerpt, full article on TheMonthly.com.au, May edition of the magazine.] The Sydney Biennale continues until June 11.
» 16/03/2018: TimeOut Sydney magazine includes Yasmin Smith in 'Six must-see works at Biennale of Sydney'. The Biennale opens to the public today across seven venues, with Yasmin Smith's project at two sites on Cockatoo Island. The project is participatory for the the first month of the Biennale. "Smith will install a large-scale participatory work in what was once a timber-drying shed on Cockatoo Island. It's an ambitious project involving the creation of an operating studio with a kiln and its own salt farm. Using materials gathered from the island and salt from the surrounding water, Smith will create a forest of ceramic tree branches." Coverage by Elissa Blake.
» 03/03/2018: Yasmin Smith will deliver an Artist Talk at the Superposition Studio, Cockatoo Island, as part of the 21st Biennale of Sydney PREVIEW, 3 - 4pm on 14/03/18. Smith will talk through her major site-specific ceramic project on Cockatoo Island, which she has worked on since being selected into the Biennale program, in March 2017, by Artistic Director Mami Kataoka. Yasmin Smith's ceramics practice uses research and archeological processes to explore the chemistry of glaze techniques to furnish material evidence of histories, ecology, geology and culture. Join the studio audience to gain insight into Smith's dynamic practice, her artwork build and outcomes, and the site-specific nature of her work on Cockatoo Island for the Biennale of Sydney. The preview talk is FREE to attend. The Biennale of Sydney opens offically 16/03/18 - 11/06/18.
» 01/03/2018: Artistic Director of the 21st Biennale of Sydney, Mami Kataoka, has highlighted Yasmin Smith's work to view within the Biennale program. 'Artists like Yasmin Smith, whose site-specific ceramic work at Cockatoo Island uses the earth – clay as art – water, fire and wood to make that fire. It's one of the ancient ways of making daily objects and this medium is so current,' says Kataoka, 'Merging aspects of art, archaeology and science, Smith examines the processes and chemical composition of glazes made from material found on site to reveal the history, ecology, geology and culture of a place'. Visual ArtsHub coverage, by Gina Fairley.
» 15/02/2018: The upcoming Biennale of Sydney opens in exactly one month, with an anticipated program. Yasmin Smith has been selected by Artistic Director Mami Kataoka to develop a site specific project for Cockatoo Island. The ceramic project will investigate the presence and significance of salt in the Sydney Harbour and Parramatta River tidal exchange. 'Smith's work will explore the long history of abuse Parramatta River has suffered since colonisation – through industrialisation and urbanisation – which has changed the foreshore line and the makeup of the vegetation and river itself.' – Broadsheet Sydney. The 21st Biennale of Sydney will be presented across seven venues over twelve weeks 16/04/18 – 11/06/18
» 14/12/2017: The Biennale of Sydney has released its full list of artists for the 21st Biennale of Sydney curated by Mami Kataoka opening in March 2018. Yasmin Smith has been busy developing her incredible site specific ceramics project for Cockatoo Island investigating the presence and significance of salt in the Sydney Harbour/Parramatta River tidal exchange waters.
» 18/09/2017: It is a great pleasure to announce that Yasmin Smith's ceramics installation, Open Vase Central Leader Widow Maker, a forensics of site-specific wood ash glazes, shortlisted for the 2017 Sidney Myer Fund Australian Ceramics Award, has been acquired by Shepparton Art Museum. We look forward to seeing Open Vase Central Leader Widow Maker installed in the new SAM building, due to commence construction in 2018.
» 07/04/2017: Yasmin Smith in coverage of Biennale of Sydney's announcement of first 21 artists in Artist Director Mami Kataoka's 21st Biennale of Sydney in The Guardian.
» 06/04/2017: Today the Biennale of Sydney announced the names of the first 21 artists selected by Artistic Director Mami Kataoka for the 21st Biennale of Sydney. Congratulations to Yasmin Smith on her inclusion on this list. Smith is one of three Australian artists on the preliminary list (the list includes Eija-Liisa Ahtila, Ai Weiwei, Brook Andrew, N.S. Harsha, Koji Ryui and George Tjungurrayi). Exhibition dates 16/03/18 - 11/06/18.
» 03/02/2017: Congratulations to Yasmin Smith for being one of five artists shortlisted for the 2017 Sidney Myer Fund Australian Ceramic Award. The $ 50,000 prize will be announced at Shepparton Art Museum on June 17. Finalists are Glenn Barkley, Karen Black, Laith McGregor, Jenny Orchard and Yasmin Smith. The exhibition will comprise all new work commissioned for the award exhibition.
» 23/01/2017: Yasmin Smith is exhibiting works from her 2015 Ntaria Fence series in the group exhibition, World Material, guest curated by Chloé Wolifson at Darren Knight Gallery, Sydney. The exhibition opens Saturday 28/01/17, 4-6pm and continues until 25/02/17. Artists include Connie Anthes, Rebecca Gallo, Eloise Kirk, Michelle Nikou, Lisa Sammut, Lotte Schwerdtfeger, Yasmin Smith and Louise Weaver.
» 05/08/2016: Yasmin Smith is presenting a site-specific process based work, Contours of Our Heart, for Sculpture at Barangaroo. Engaging with the recent massive excavation and relandscaping of the Barangaroo site, Smith has sourced local sandstone, a prominent feature of Barangaroo Reserve but also synonymous to Sydney. Sandstone also denotes the colonial city as it was a popular building material from the late 1790s to the 1890s. Typical of her development of glazes related to specific sites and histories, Smith has ground Barangaroo sandstone to form a site-specific clay and glaze and is inviting participation in daily workshops to create individual clay pieces. A kiln, the centrepiece of a makeshift campsite, is heated daily to fire the clay pieces and to allow for glazing. Yasmin Smith in Sculpture at Barangaroo, Nawi Lawn, Barangaroo Reserve, 06/08/16 - 21/08/16.
» 20/07/2015: Yasmin Smith is presenting a talk about her large ceramics installation, Ntaria Fence, at The Commercial on Saturday 25/07/15, 4pm.
» 20/06/2014: The Commercial is excited in anticipation of its first presentation at Melbourne Art Fair in the Royal Exhibition Building from 13/08/14 - 17/08/14. Presented by the Melbourne Art Foundation, a not for profit organisation, Melbourne Art Fair is one of Australasia's longest running contemporary art events. For 25 years the Fair has stimulated critical and commercial attention for galleries and their artists directly contributing to the livelihood of living artists. The Commercial will present a group exhibition in the MAF Galleries sector. Collector's passes and tickets to the opening night Vernissage on Wednesday 13 August, 6-10pm are available on the Melbourne Art Fair website.
» 17/02/2014: Yasmin Smith recently spent a month at Hermannsburg in Central Australia assisting the community of potters on the Old Church Project. The project's aim was to create a ceramic replica of the old Lutheran mission church, an installation with soundscape, exploring the material culture of the mission period. A short documentary about the Hermannsburg Old Church Project is being broadcast at 10am AEST on Monday 17/02/14 on ABC Radio National's Books and Arts Daily program. A live streaming of the program is available on the Radio National website.
» 13/10/2013: Agatha Gothe-Snape and Yasmin Smith are two of five alumni of Sydney College of the Arts shortlisted for the 2013 Fauvette Loureiro Memorial Artists' Travel Scholarship Prize. The scholarship was established to provide financial assistance to a recent SCA graduate to further his/her visual arts practice and professional development in an international environment. The scholarship offers $28,000 and is awarded on the basis of an application and visual assessment by a panel of judges. Major works by the artists will be on exhibition at SCA 17/10/13 - 25/10/13. Announcement of the prize and opening event takes place on Wednesday 16/10/13, 5.30-8pm.
» 12/09/2013: Yasmin Smith has been selected to exhibit in Installation Contemporary, the curated section for installation and oversized work at the inaugural Sydney Contemporary art fair. Smith is producing a major new group of large ceramic works, an extension of her Apprentice Welder series seen in her solo exhibition at The Commercial earlier this year. Installation Contemporary is curated by Aaron Seeto, Director of 4A Centre for Contemporary Asian Art, Sydney. Sydney Contemporary is being held at Carriageworks between Thursday 19 and Sunday 22 September. Yasmin Smith, Installation Contemporary, IC11.
» 12/06/2013: It is a pleasure to announce that Yasmin Smith's work Apprentice Welder has been acquired by Artbank.
» 09/11/2012: Yasmin Smith is exhibiting in the group exhibition, Reality Considerations (for the sake of), at 55 Sydenham Rd. The exhibition is curated by Eleonor Ivory Weber and includes work by Filipa César, Bea Fremderman, Georgia Kaw, Asta, Meldal Lynge and Yasmin Smith. It opens Friday 09/11/12, 6pm until late. The exhibition includes a performance program and publication: Performances by Brian Fuata (17.11.12) and Matte Rochford (1.12.12). The publication has been designed by Richard Houguez and includes written contributions from : Catherine Borra, Tom Clark, Amelia Groom, João Laia, JD Reforma, David Smail and Eleonor Ivory Weber. Further ... Amelia Groom and Eleonor Ivory Weber will have "a counter-productive conversation on fashion (24.11.12), and each Saturday at 3pm (or by request) they will screen the documentary 'Hidden Depths' (1989) directed by the late Nina Burr for Thames TV and featuring psychologist David Smail." exhibition dates: 09/11/12 - 02/12/12 55 Sydenham Rd, Marrickville
» 01/09/2012: Yasmin Smith and fellow artist, Alex Pye, have initiated an open-format artist residency called Dark tea time of the soul in Cumnock in rural New South Wales, near the regional centre of Orange. Inquire through Dark tea time of the soul's Facebook page for information about the residency.


Out Now! Kcee Echi Di Ime Mp3 download.
Off Multi Talented Nigerian Singer-songwriter Kcee recently released album dubbed Eastern Conference, we present an amazing new track off this masterpiece project titled Echi Di Ime.


text:
package opengl

import (
	"encoding/json"
	"reflect"
	"runtime"
	"strings"

	"github.com/fcvarela/gosg/core"
	"github.com/go-gl/gl/v3.3-core/gl"
	"github.com/go-gl/mathgl/mgl32"
	"github.com/go-gl/mathgl/mgl64"
	"github.com/golang/glog"
)

// Program is an OpenGL program
type Program struct {
	name                  string
	id                    uint32
	shaders               map[string]*shader
	compileLog            string
	uniformLog            string
	uniformLocations      map[string]int32
	uniformBlockIndexes   map[string]uint32
	uniformBufferBindings map[string]uint32
	samplerBindings       map[string]uint32
	dirtySamplerBindings  bool
}

// programSpec is the struct we get as bytes on calls to NewProgram
type programSpec struct {
	Shaders               map[string]string `json:"shaders"`
	UniformBufferBindings map[string]uint32 `json:"uniformBufferBindings"`
	SamplerBindings       map[string]uint32 `json:"samplerBindings"`
}

func programCleanup(p *Program) {
	glog.Infof("Finalizer called for program: %v\n", p)
}

var (
	programTypeMap = map[string]uint32{
		"compute":            gl.COMPUTE_SHADER,
		"tesselationControl": gl.TESS_CONTROL_SHADER,
		"tesselationEval":    gl.TESS_EVALUATION_SHADER,
		"vertex":             gl.VERTEX_SHADER,
		"geometry":           gl.GEOMETRY_SHADER,
		"fragment":           gl.FRAGMENT_SHADER,
	}
	currentProgram *Program
)

// ProgramExtension implements the core.RenderSystem interface.
func (r *RenderSystem) ProgramExtension() string {
	return "gl.json"
}

// NewProgram implements the core.RenderSystem interface.
func (r *RenderSystem) NewProgram(name string, data []byte) core.Program {
	var spec programSpec
	if err := json.Unmarshal(data, &spec); err != nil {
		glog.Fatal("Error reading program spec: ", err)
	}

	// create program
	prog := &Program{
		name,
		0,
		make(map[string]*shader),
		"",
		"",
		make(map[string]int32),
		make(map[string]uint32),
		make(map[string]uint32),
		make(map[string]uint32),
		false,
	}

	// set shaders
	for k, v := range spec.Shaders {
		source := core.GetResourceManager().ProgramData(v)
		prog.shaders[k] = newShader(v, programTypeMap[k], source)
	}

	// set ubo bindings
	for k, v := range spec.UniformBufferBindings {
		prog.uniformBufferBindings[k] = v
	}

	// set finalizer (hooks into gl to cleanup)
	runtime.SetFinalizer(prog, programCleanup)

	// compile it
	prog.id = gl.CreateProgram()

	for _, s := range prog.shaders {
		if s != nil {
			s.compile()
			gl.AttachShader(prog.id, s.id)
		}
	}

	gl.LinkProgram(prog.id)
	status := int32(0)
	gl.GetProgramiv(prog.id, gl.LINK_STATUS, &status)
	if status == gl.FALSE {
		logLength := int32(0)
		gl.GetProgramiv(prog.id, gl.INFO_LOG_LENGTH, &logLength)

		progLog := strings.Repeat("\x00", int(logLength+1))
		gl.GetProgramInfoLog(prog.id, logLength, nil, gl.Str(progLog))
		prog.compileLog = progLog

		glog.Fatalf("failed to link program: %v", progLog)
	}

	for _, s := range prog.shaders {
		if s != nil {
			gl.DeleteShader(s.id)
		}
	}

	// populate uniform name map
	prog.extractUniformNames()

	// populate uniform block index map
	prog.extractUniformBlockIndexes()

	// bind uniform buffers
	for name, bindLocation := range spec.UniformBufferBindings {
		if index, ok := prog.uniformBlockIndexes[name]; ok {
			gl.UniformBlockBinding(prog.id, index, bindLocation)
		}
	}

	// bind samplers to textureunits, this requires the program to be active
	for name, textureUnit := range spec.SamplerBindings {
		prog.samplerBindings[name] = textureUnit
	}

	prog.dirtySamplerBindings = true
	return prog
}

func (p *Program) extractUniformNames() {
	var uniformCount int32
	gl.GetProgramiv(p.id, gl.ACTIVE_UNIFORMS, &uniformCount)

	for i := uint32(0); i < uint32(uniformCount); i++ {
		uniformName := strings.Repeat("\x00", int(128)+1)
		var uniformLen int32
		var uniformSize int32
		var uniformType uint32

		// extract locations and name
		gl.GetActiveUniform(p.id, i, 128, &uniformLen, &uniformSize, &uniformType, gl.Str(uniformName))

		// extract location
		location := gl.GetUniformLocation(p.id, gl.Str(uniformName))

		// save into location map
		goUniformname := gl.GoStr(gl.Str(uniformName))
		p.uniformLocations[goUniformname] = location
	}
}

func (p *Program) extractUniformBlockIndexes() {
	var blockCount int32
	gl.GetProgramiv(p.id, gl.ACTIVE_UNIFORM_BLOCKS, &blockCount)
	for i := uint32(0); i < uint32(blockCount); i++ {
		// extract name length
		var nameLen int32
		gl.GetActiveUniformBlockiv(p.id, i, gl.UNIFORM_BLOCK_NAME_LENGTH, &nameLen)
		uniformName := strings.Repeat("\x00", int(nameLen))

		// extract name
		gl.GetActiveUniformBlockName(p.id, i, nameLen, nil, gl.Str(uniformName))

		// extract location
		location := gl.GetUniformBlockIndex(p.id, gl.Str(uniformName))
		p.uniformBlockIndexes[gl.GoStr(gl.Str(uniformName))] = location
	}
}

func (p *Program) bind() {
	gl.UseProgram(p.id)

	if p.dirtySamplerBindings {
		for name, textureUnit := range p.samplerBindings {
			p.setUniform(name, &Uniform{textureUnit})
		}
		p.dirtySamplerBindings = false
	}

	currentProgram = p
}

func (p *Program) setUniform(name string, u *Uniform) {
	if u.value == nil {
		return
	}

	uloc, found := p.uniformLocations[name]
	if !found {
		return
	}

	glog.Infof("Name: %s Value: %#v", name, u)

	switch uval := u.Value().(type) {
	case mgl32.Mat4:
		gl.UniformMatrix4fv(uloc, 1, false, &uval[0])
	case mgl64.Mat4:
		newval := core.Mat4DoubleToFloat(uval)
		gl.UniformMatrix4fv(uloc, 1, false, &newval[0])
	case mgl64.Vec4:
		newval := core.Vec4DoubleToFloat(uval)
		gl.Uniform4fv(uloc, 1, &newval[0])
	case mgl64.Vec3:
		newval := core.Vec3DoubleToFloat(uval)
		gl.Uniform3fv(uloc, 1, &newval[0])
	case mgl64.Vec2:
		newval := core.Vec2DoubleToFloat(uval)
		gl.Uniform2fv(uloc, 1, &newval[0])
	case []float32:
		gl.Uniform1fv(uloc, int32(len(uval)), &uval[0])
	case []mgl32.Vec2:
		newval := make([]float32, len(uval)*2)
		for i := 0; i < len(uval); i++ {
			newval[i*2+0] = uval[i].X()
			newval[i*2+1] = uval[i].Y()
		}
		gl.Uniform2fv(uloc, int32(len(uval)), &newval[0])
	case int:
		gl.Uniform1i(uloc, int32(uval))
	case uint32:
		gl.Uniform1i(uloc, int32(uval))
	case float32:
		gl.Uniform1f(uloc, uval)
	case float64:
		gl.Uniform1f(uloc, float32(uval))
	default:
		glog.Fatalf("UNSUPPORTED -- Uniform: %s Type: %s\n", name, reflect.TypeOf(u.Value()))
	}
}

func (p *Program) setUniformBufferByName(name string, ub *UniformBuffer) {
	if _, ok := p.uniformBufferBindings[name]; !ok {
		return
	}

	gl.BindBufferBase(gl.UNIFORM_BUFFER, p.uniformBufferBindings[name], ub.id)
}

func (p *Program) setTexture(name string, texture *Texture) {
	if _, ok := p.samplerBindings[name]; !ok {
		return
	}

	textureUnit := p.samplerBindings[name]
	if textureUnitBindings[textureUnit] != texture.id {
		gl.ActiveTexture(gl.TEXTURE0 + textureUnit)
		gl.BindTexture(gl.TEXTURE_2D, texture.id)
		textureUnitBindings[textureUnit] = texture.id
	}
}

// Name implements the core.Program interface
func (p *Program) Name() string {
	return p.name
}

redpajama_set_name: RedPajamaGithub


text:
Q: Internationalization of a Supertype-subtype First of all, my apologies for tieing this question with another one, but that was the best way I could think to keep it simple and focused
Months ago I was introduced to the supertype-subtype as solution for a problem that was more or less easy to present but I wasn't being able to solve
I understood the basic concept and was able to make it work with my modest knowledge and it worked quite well considering the original question is more than one year old.
However today I faced a problem I couldn't solve: Internationalization
Until now I had a table named i18n with a FOREIGN KEY pointing to the PRIMARY KEY of the supertype table (Items) just like all subtypes (Car, Boat and Plane) and when querying, among all columns of all subtypes, I include the column in this internationalization table with the translated strings joining everything by the supertype key.
Something like this:
Items structure:
+----+---------------------+---------------------+
| PK | Common Attribute #1 | Common Attribute #2 |
+----+---------------------+---------------------+

Car structure:
+----+-----------+--------------+--------------+
| PK | Reference | Attribute #1 | Attribute #2 |
+----+-----------+--------------+--------------+

Boat structure:
+----+-----------+--------------+--------------+--------------+
| PK | Reference | Attribute #1 | Attribute #2 | Attribute #3 |
+----+-----------+--------------+--------------+--------------+

Plane structure:
+----+-----------+--------------+--------------+--------------+--------------+
| PK | Reference | Attribute #1 | Attribute #2 | Attribute #3 | Attribute #4 |
+----+-----------+--------------+--------------+--------------+--------------+

i18n structure:
+----+-----------+------+
| PK | Reference | Text |
+----+-----------+------+

Reference is the FOREIGN KEY

I'm not exactly sure if this is the best approach, but it works because until now only one of the columns had text passive of internationalization — let's say Attribute #1. However, today, I noticed that one of the subtypes would need two columns to be translated and the way I was doing was considering only one — let's say Attribute #4 of Planes Table.
I would like to do this right at database level instead of having some representative keyword to replace with the server-side language.
I tried to make a subquery for this second column to be translated but, not only it didn't work but that was smelling bad to me.
How could I do this?
[EDIT]
I thought for the best I should post my last attempt:
SELECT
    `items`.`cid` AS `id`, `items`.`reference`, `items`.`GUID`,     # That's Users' Items Table

    `core`.`image`, `core`.`type`, `core`.`class` AS `classname`,   # That's the supertype

    `cars`.`attribute1`, `cars`.`attribute2`,

    `boats`.`attribute1`, `boats`.`attribute2`, `boats`.`attribute3`,

    `planes`.`attribute1`, `planes`.`attribute2`, `planes`.`attribute3`, `planes`.`attribute4`,

FROM `items`
    LEFT OUTER JOIN core ON( ( items.reference = core.iid ) )
        LEFT OUTER JOIN `catalog`.`cars` cars ON( items.reference = cars.reference )
            LEFT OUTER JOIN `catalog`.`boats` boats ON( items.reference = boats.reference OR items.reference = boats.attribute3 )
                LEFT OUTER JOIN `catalog`.`planes` planes ON( items.reference = planes.reference )
                    LEFT OUTER JOIN users ON( items.UserId = users.id )
                        LEFT OUTER JOIN i18n ON( items.reference = i18n.reference )

WHERE `i18n`.`langCode` = 'en'
        AND ( `items`.`GUID` = '4cca0b05-84b0-40af-8808-2379b32df35f' OR `items`.`GUID` = '41a0917e-8ccf-43a3-b52a-0ae0a09a2374' )

ORDER BY ( FIELD( `items`.`GUID`, '4cca0b05-84b0-40af-8808-2379b32df35f','41a0917e-8ccf-43a3-b52a-0ae0a09a2374' ) )

For this example, I used the subtype Boats to demonstrate the other column that could/should be translated.
I can retrieve all data I need of all subtypes at once with this query. It'll have several columns as NULL but when fetching data, with PHP (PDO::FETCH_NAMED, for what matters) everything works.
But I'm not being able to return the column with the text (i18n.text), only its Reference ID that matches the supertype Table (Items.reference).
I know, I know, I'm not including it as a column to be retrieved but, if I do, the first translatable column (attribute1) works, but then any other, that any subtype may have (here boats.attribute3) duplicates the value of atribute1 instead of pulling its own referenced value.

A: I personally hate having to join multiple tables to get the international variant of some text value so I make each attribute that needs to be internationalized either an XML column or a JSON column and then use the relevant functions to return the value that matches the language I need. This is an extremely extensible solution in the sense that you can add multiple languages very easily without adding new tables but does require you to modify your insert, update and selects to cope with it.
XML Example:
'<?xml version="1.0"?>
 <translations>
    <text key="en-US" value="pants"/>
    <text key="en-UK" value="trousers"/>
 </translations>'

SELECT ExtractValue([column], '/translations/text[@key="en-US"]');

JSON Example:
'{
    "en-US" : "pants",
    "en-UK" : "trousers"
 }'

SELECT JSON_EXTRACT([column], '$."en-US"');

I prefer to use JSON because it consumes less storage but I feel either approach is better than filling your database full of lookup tables. You just have to make sure that you use a character set for the XML or JSON that will support Unicode.

A: Charset?
Are you saying that every VARCHAR is latin1 today?  But tomorrow you need utf8mb4?
Plan A:

*

*Disable foreign keys

*ALTER TABLE ... CHARACTER SET utf8mb4

*Enable FKs.

Plan B:

*

*Dump the schemas; manually change charset

*dump data without schemas

*on a fresh machine load schemas, then data

Caution: "the devil's in the details."
Phrases?
If you are saying that you have a bunch of phrases in English today, but tomorrow you need each phrase in multiple languages, then there is a lot more to do than just modify the charset.

*

*Change phrases to have a language-independent id.

*Have a lookup table that maps these ids into each language (phrase_id, language, phrase)

*Suggest the standard 5-char (ASCII) lanbuages, such as EN-US, EN-UK, etc.  Don't bother to make separate ids for these, use them as is.

*Write a bunch of code to pick the right phrase(s).

redpajama_set_name: RedPajamaStackExchange


text:
Guilford County
1006 Highstone Dr
Keller Williams Kernersville
Your info has been successfully sent to Tyrone Smith. Visit My Website
1006 Highstone Dr is a single family residence located in Greensboro, NC 27406. Built in 2003, this property features 3 bedrooms, 3 bathrooms, 6,970 sq ft lot, and 1,440 sq ft of living space. The estimated market value for 1006 Highstone Dr is $154,000.
For the surrounding community of Greensboro, NC 27406, the average sale price for similar homes to 1006 Highstone Dr is $128,957. The nearby schools are below average and include Allen Middle, Cyrus P Frazier Elementary and Ben L Smith High School. The overall crime risk for this area is moderately high with 10 criminal and sex offenders residing within 1 mile. The natural disaster risk for this area includes very low earthquake risk, medium tornado risk, and minimal flood risk.
Property Details: 1006 Highstone Dr
Parcel Number: 0086365
County: Guilford
Subdivision: BROOKSTONE PH 01
Zoning: RS-7
11/1/2017 Sold $139,000 $97 Public Records
12/29/2006 Sold $125,000 $87 Public Records
1004 Highstone Dr, Greensboro, NC 27406
4305 Stonedale Dr, Greensboro, NC 27406
1007 Quinlan Dr, Greensboro, NC 27406
The average sales price of homes similar to 1006 Highstone Dr is $128,957 ($91/sq.ft.)
16 Loney Cir $119,900 01/07/2020 $94 1,275 sq.ft. 3 Bed, 2 Bath 0.4 mi away
310 W Montcastle Dr $134,500 01/06/2020 $83 1,620 sq.ft. 3 Bed, 2 Bath 1.6 mi away
624 Foxridge Rd $143,000 01/03/2020 $95 1,500 sq.ft. 3 Bed, 2 Bath 1.2 mi away
363 E Montcastle Dr Unit B $78,500 01/03/2020 $61 1,290 sq.ft. 3 Bed, 3 Bath 2.3 mi away
818 Valley Oak Dr $130,000 12/30/2019 $103 1,260 sq.ft. 3 Bed, 2 Bath 0.3 mi away
4403 Pleasant Valley Rd $142,000 12/23/2019 $103 1,380 sq.ft. 3 Bed, 2 Bath 0.9 mi away
1303 W Vandalia Rd $136,000 12/23/2019 $103 1,321 sq.ft. 3 Bed, 2 Bath 1.2 mi away
810 Quail Cove Ct $104,000 12/20/2019 $69 1,500 sq.ft. 3 Bed, 2 Bath 1 mi away
206 Lasalle Way $150,000 12/19/2019 $100 1,496 sq.ft. 3 Bed, 3 Bath 1.3 mi away
410 Woodlake Dr $150,000 12/19/2019 $94 1,600 sq.ft. 3 Bed, 2 Bath 2.1 mi away
This Single Family Residence at 1006 Highstone Dr, Greensboro, NC 27406 is a 3-bedroom, 3.0-bath, property. This residence is 1,440 square feet and was built in 2003. and sits on a lot that is 6,970 square feet
In the area where 1006 Highstone Dr, Greensboro, NC 27406 is located there were 23 new foreclosure filings in 12/2019. The foreclosure rate in the 27406 zip code was one in every 1,160 housing units. The number of active properties in some stage of foreclosure in the 27406 zip code is 121.


A mother/parent help is a carer who has got a genuine interest in children, who works under supervision on the daily running of the household.
A mother/parent help is willing and able to take on additional responsibilities such as longer hours(35+), care for younger children(under 2yrs) and care for more than 4 children.The mother's/parent help will have at least 1 year's relevant childcare experience. They may have cared for siblings, done regular babysitting or helped out at a local playgroup or camp and / or have a qualification.Duties regarding children will be according to their experience, the type of household and the ages of the children. An extra hand rather than someone who takes charge.
Depending on the childcare responsibilities expected, they will be able to help around the house with light housework and run errands.
If she is experienced and confident enough, she can take sole charge of the children at times. Unlike most nannies, mothers' helps will normally do some light housework (dusting, vacuuming etc).
A mother/parent help will be expected to do 2 evenings per week babysitting.
A mother/parent help should receive 1 full free day and 3 evenings off per week.
*Mother/Parent Helpers are not officially part of the au pair cultural exchange scheme. They are candidates who are willing and able to take on higher levels of responsibility, but are not fully qualified nannies or teachers. Mother/Parent Helpers are only exempt from minimum wage if they are treated as part of a family.


text:
The AR Dice rolling app.
Die! is the world's first augmented reality dice rolling app for tabletop gamers and D&D players.
Die-ing to play? Download this first version now before we start charging for it!
Roll realistic dice on the surface of your choice.
A full set of dice for DnD including D4, D6, D8, D10, D12 and D20.
Roll theoretically unlimited amounts of dice, for all those Warhammer D6 rolls.
Automatic, real-time dice roll totals. Get back your valuable roleplaying time!
A full log of every dice you've ever rolled. Ever.
Select and re-roll specific dice.
We want to build a community of dedicated rollers like you to help make this the best dice app on the planet. If you're interested in seeing your feedback incorporated into the app, subscribe below.
Last updated: 7 February 2018
Hydric Media Pty Ltd ("us", "we", or "our") operates the Die! mobile application (the "Service").
We use your Personal Information for providing and improving the Service. By using the Service, you agree to the collection and use of information in accordance with this policy. Unless otherwise defined in this Privacy Policy, terms used in this Privacy Policy have the same meanings as in our Terms and Conditions.
While using our Service, we may ask you to provide us with certain personally identifiable information that can be used to contact or identify you.
The purpose for which we collect personal information is to provide you with the best service experience possible on the Service and for our internal business purposes that form part of normal business practices. Some provision of personal information is optional. However, if you do not provide us with certain types of personal information, you may be unable to enjoy the full functionality of the Service.
When you access the Service by or through a mobile device, we may collect certain information automatically, including, but not limited to, the type of mobile device you use, your mobile device unique ID, the IP address of your mobile device, your mobile operating system, the type of mobile Internet browser you use and other statistics ("Log Data").
Cookies are files with small amount of data, which may include an anonymous unique identifier. Cookies are sent to your browser from a web site and stored on your computer's hard drive.
We use "cookies" to collect information. You can instruct your browser to refuse all cookies or to indicate when a cookie is being sent. However, if you do not accept cookies, you may not be able to use some portions of our Service.
We may employ third party companies and individuals to facilitate our Service, to provide the Service on our behalf, to perform Service-related services or to assist us in analyzing how our Service is used.
Your information, including Personal Information, may be transferred to — and maintained on — computers located outside of your state, province, country or other governmental jurisdiction where the data protection laws may differ than those from your jurisdiction.
If you are located outside Australia and choose to provide information to us, please note that we transfer the information, including Personal Information, to Australia and process it there.
Australian Privacy Principle 6 of the Privacy Act 1988 (Cth) allows you to get access to, and correct, the personal information we hold about you in certain circumstances. If you would like to obtain such access, please contact us on the details set out above.
Please note that the access and correction requirements under this Privacy Policy operates alongside and do not replace other informal or legal procedures by which an individual can be provided access to, or correction of, their personal information, including the requirements under the Freedom of Information Act 1982 (Cth).
Australian Privacy Principle 1 of the Privacy Act 1988 (Cth) allows you to make a complaint about any alleged breaches of privacy. In order to lodge a complaint with us, please contact us using the details above with the following information:
Your name and address;
Details of the alleged breach of privacy; and
URL link to the alleged breach of privacy (if applicable).
Please allow us 30 days to investigate your complaint, after which we will contact you immediately to resolve the issue.
We retain information for as long as required, allowed or we believe it useful, but do not undertake retention obligations. We may dispose of information in our discretion without notice, subject to applicable law that specifically requires the handling or retention of information. You must keep your own, separate back-up records.
We do not knowingly collect personally identifiable information from children under 18. If you are a parent or guardian and you are aware that your Children has provided us with Personal Information, please contact us. If we become aware that we have collected Personal Information from children under 18 without verification of parental consent, we take steps to remove that information from our servers or replace it with the Personal Information of the Children's parent or guardian.
You warrant that you are able to give consents under Australian Law or, in the event that you do not have the capacity to give consent, you warrant that your guardian or attorney is able to give any consent required under this Privacy Policy on your behalf.
You hereby expressly and voluntarily grant your informed consent to us to deal with your personal information in accordance with the terms and conditions of this Privacy Policy. Should you retract your consent, please contact us. If you retract your consent, you acknowledge and agree that failure to provide certain types of personal information may not give you access to the full functionality of the Service.


text:
The Need to Know Project
By Elliott Brown from Birmingham, United Kingdom (Witton Station – Mind the Gap Uploaded by Oxyman) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons
Full Fact, along with The Economic and Social Research Council (ESRC), the UK Statistics Authority and the House of Commons Library, is launching a project to identify and fill gaps in data and analysis in the UK.
The project is designed to answer important questions about eight different topics which include crime, immigration, education and housing. Full Fact want to fill the gaps in data to produce reliable and well-communicated information. This will help ensure that public decisions and debate are based on the best information available and will help prevent people from making claims that will need to be corrected later on. To find out even more about this project, click here.
Full Fact are also looking for your examples of data and analysis gaps for their eight topics. To view these topics and find out how to get involved, click here.


Your students� will gain confidence thanks to the short, simple explanations and plenty of practice exercises. be motivated by the variety of interesting and stimulating exercise types. be able to find their way around easily thanks to clear signposting, plus a detailed contents page and grammar index., learn more than just grammar with the new vocabulary sections, including word building. be able to assess their progress regularly with the new scored self-check pages be able to do further practice and self-testing with the brand new CD-ROM.
Want to know when Grammar Practice for Elementary Student Book with Key Pack - nzgameshop.com drops below a certain price? Enter your email address and price below and we'll let you know when it drops below that price!


Department of Fish and Wildlife Washington State Department of Fish and Wildlife, on behalf of the Trust for the Public Lands, retained White Shield to conduct a Phase I Environmental Site Assessment (ESA) of the Severson/Selinco Properties, LLC/TPL located in Sequim, Washington. These properties consisted of approximately 100 acres of agricultural and undeveloped land along the Dungeness River. The assessment was performed in accordance with the American Society for Testing and Materials (ASTM) E 1527-00. The purpose of the ESA was to evaluate the likelihood for the presence of recognized environmental conditions (RECs) at the site. White Shield reviewed available information from various sources with respect to the historical uses of the property, including assessor's records, permits, historical maps, and aerial photographs. Based on our studies and observations, it was concluded that two 200-gallon above ground fuel storage tanks and five drums of unknown petroleum products located in and adjacent to a barn on the northern portion of the subject site were RECs.


Trimble have announced that Trimble Business Centre 3.90 is now available for download.
This version contains enhancements, as well as resolutions to known issues and is available for download now on the Trimble website.
This version is available to users whose current warranty expiration date is 1 May 2017 or later. In the TBC ribbon, select Support > License Manager to verify your warranty expiration date. If your warranty expires prior to this date and you proceed with the installation, licensed features will not be available. Contact your local AllTerra office to purchase a warranty extension.
Trimble has released a new version of the Trimble® Pivot™ Platform software, a modular solution for real-time GNSS infrastructure management, ranging from a single-base GNSS Continuously Operating Reference Station (CORS) to a full Real-Time Network (RTN), serving thousands of end-users worldwide.
Dynamic Station Coordinates (DSC) module improvements: minimises the impact of erroneous reference station coordinates to improve system performance.
"Accessibility to the Galileo constellation and the addition of the L5 third-frequency observations in particular, makes the Pivot Platform significantly more versatile to improve functionality and performance for end users in the field," said Mark Richter, director of marketing for Advanced Positioning Division at Trimble.
The Trimble Pivot Platform version 3.10 is now available. Customers with a valid software maintenance agreement receive the new version at no additional cost. For more information, visit http://www.trimble.com/rtn or contact your local office.


The Women of Excellence Leadership (WEL) Series is for juniors and seniors only. Spring Study Abroad students are not eligible for consideration.
The WEL program is designed to feed the need for dedicated ethical, articulate, solution-oriented leaders, in the world community. Through WEL, students experience leadership and professional training typical for professional women.
This seven-week course is designed to be of most benefit for women currently in their junior and senior year of college. Students involved in the program experience leadership development and professional training from national experts, noted faculty, and prominent corporate partners.


When it comes to designing a cable for a particular application, there are many things to consider – some more obvious than others. Generally customers know the basics like conductor count, AWG size, and shielding, but often times are not as well-versed on the more specific details such as insulation and jacket materials, stranding, etc. Galaxy Wire & Cable is an expert cable solutions provider that will make sure the cable designed is right for the application.
What are the top 5 things to consider when designing a cable?
One of the most important things to consider is the environment in which the cable will be used. Will the cable be exposed to chemicals? Depending on the type of chemical, some cable jackets are superior to others. Perhaps it's going into a rugged environment, and needs to have good abrasion resistance. Some jackets will fail whereas others will perform just fine. Selecting a cable jacket that takes into account the environmental conditions where it will be used is critical in the performance, and potentially the viability, of the cable itself.
The overall size requirements or limitations of the cable are sometimes overlooked. It is important to think about how the cable is going to be terminated. Are pins going to be crimped on the conductors, or will they be soldered? If a backshell is selected already, what are the outside diameter (OD) restrictions? As some components can have long lead times, it's advised to consider all of these at the time of design.
There are some applications where a cable is installed in a fixed location, and will not move. However, it may be routed in a way that flexibility is important for the installation process. Other cables may be in constant motion with millions of flex cycles. If flexibility is critical, simple things like increased strand count and spiral shields will aid in the performance of the cable. Insulation and jacket materials can have different durometers, and the environment the cable will be exposed to is important to consider as well.
Understanding the electrical requirements is critical when it comes to designing a cable. Not only is voltage important to know, but other requirements such as impedance and capacitance need to be evaluated to determine the right type and amount of insulation.
Some customers require their cable to hold an agency listing from organizations like UL (Underwriters Laboratory), CSA (Canadian Standards Association), CE Mark (Certification for European Union), or another accredited firm. This requires careful scrutiny to make sure that a cable designed will be able to hold the required approval. Galaxy can assist in navigating these sometimes confusing standards to make sure the cables have the required listings.
Galaxy has vast expertise in assisting OEMs and customers with designing the perfect cable for their application, working collaboratively with customers to develop and manufacture custom cable and wire for many applications. Contact Galaxy today for assistance in producing your custom cable product.


text:
Q: Create dojo MenuItems using dojo mvc Repeat I'm trying to create a dijit DropDownButton with a DropDownMenu and populate it with menu items using dojo mvc. Is this possible or do I need to manually create/delete MenuItems? I have tried the below but the DropDownMenu is not getting populated.

A: Dojo 1.8 introduced dojox/mvc/WidgetList which effectively replaces dojox/mvc/Repeat. There is a way to create repeating menu items with dojox/mvc/WidgetList, like (replace /path/to/dojotoolkit with the path of Dojo Toolkit in your environment):
<!DOCTYPE html>

        <link id="themeStyles" rel="stylesheet" href="/path/to/dojotoolkit/dijit/themes/claro/claro.css"/>
        <link rel="stylesheet" href="/path/to/dojotoolkit/dijit/themes/claro/document.css"/>

Above approach won't work with different types of menus (like CheckedMenuItem), though. Upcoming release of Dojo will address that: http://trac.dojotoolkit.org/changeset/30158/dojo


text:
MARKET REPORT: Shares in Stagecoach motor higher after transport firm reveals its struggling US arm is on the block
By Lucy White For The Daily Mail
Shares in Stagecoach have motored higher after the transport firm revealed its struggling US arm is on the block.
Stagecoach, which has been testing self-driving buses between Edinburgh and Fife, is in discussions to sell all or part of the US division, including the American branch of bus operator Megabus.
Investors welcomed the change in strategy, despite Stagecoach's £22.6m loss in the six months to October compared to a £96.7m profit a year earlier.
A chunk of that came from the US bus business, as Stagecoach wrote down its value by £85.4m.
Russ Mould, investment director at AJ Bell, said: 'Competition has been fierce and staff and fuel costs have been going up, leaving Stagecoach in a difficult situation. Some of the issues include a national shortage of drivers in the bus and trucking sector.'
But in the UK, operations were running more smoothly – even after the Government took back the East Coast mainline rail contract from Stagecoach and Virgin Trains this year.
Stagecoach owns 49 per cent of Virgin Rail Group, which is producing strong profits, and Stagecoach's own rail division is shortlisted for three new franchises. Like-for-like revenue per mile has risen in its UK regional bus arm.
Entire revenue fell from £1.8 billion to £1.2 billion, after it lost the East Coast and South West Trains contracts, but profit increased across all divisions. Shares climbed 15.1 per cent, or 23.2p, to 177p.
Housebuilders and banks also boosted the market as investors hoped greater parliamentary control over the Brexit process would lead to a softer withdrawal from the EU. Theresa May suffered a defeat in the House of Commons on Tuesday, which means MPs can prevent a no-deal Brexit.
Share dealing: £12.50 flat-fee with low cost dividend FTSE CLOSE: Stocks plunge into the red; Ryanair faces... Billionaires Sir Richard Branson and Stagecoach founder Sir... No let-up in housing crisis: Developers slow house-building...
Many traders think a less dramatic withdrawal from the EU will be better for the UK economy – and therefore better for the companies that depend on it, such as British housebuilders and banks.
On the FTSE 100, Persimmon shot up 7.1 per cent, or 131.5p, to 1995.5p, Berkeley Group by 6 per cent, or 193p, to 3423p, Barratt Developments by 5.1 per cent, or 23p, to 473.8p, and Taylor Wimpey by 4.2 per cent, or 5.6p, to 137p.
Among mid-sized housebuilders, Redrow leapt by 6.1 per cent, or 28.4p, to 496.2p and Bellway by 5.7 per cent, or 143p, to 2645p.
Even with the sharp rises, the FTSE 100 still dipped by 1.4 per cent, or 100.92 points, to 6921.84.
Construction equipment hire company Ashtead was the biggest loser, dropping 5 per cent, or 103.5p, to 1672.5p, amid fears of a slowdown in the US economy.
Laith Khalaf at Hargreaves Lansdown said: 'We wouldn't bet the house on gains being sustained. There's still a wide range of outcomes from the parliamentary process, and more twists and turns in the tale before we have a definitive direction for Brexit.'
He said the stock market is still split into Brexit beauties – companies which make chunks of their money abroad – and beasts – such as banks and builders who are plugged into the UK economy.
Among smaller firms, car supermarket Motorpoint was driven higher by Numis. The broker recognised the motor retail sector had been heavily sold off due to Brexit fears and new emissions test rules, but said Motorpoint's growth potential and the amount of cash it was generating warranted a positive outlook. Shares climbed 3 per cent, or 6p, to 206p.
Faron Pharmaceuticals, which tanked in October after it said its treatment for acute respiratory distress syndrome wasn't as effective as hoped, is fighting back, up 22.2 per cent, or 14p, to 77p as it said the treatment worked well for patients with a certain genetic mutation.
MARKET REPORT: Shares in Stagecoach motor higher after US arm is put up for sale


text:
Teresita Sandoval: Trader, Homesteader, and Pioneer in Nineteenth-Century Colorado
Prior to gaining statehood in 1876, southern Colorado was home to a number of important trading outposts. These forts played a crucial role in the development of the Southwest before the annexation of the region by the United States. Throughout the early nineteenth century, the Southwest was a meeting ground of diverse nations and cultures, including a variety of American Indian tribes, as well as Spanish and French traders.
While many people associate this era of the American West with rugged mountain men, women were also critical to the development of the region. In many cases, women took on a diplomatic role, ensuring peaceful and prosperous trading relationships between Europeans and Indian tribes.
Teresita Sandoval was one of the first women of European descent to live in modern-day Colorado. Born in Taos, New Mexico, Sandoval eventually moved to Fort El Pueblo, a trading post along the Arkansas River. She was instrumental to the construction and operations at the outpost.
Sandoval and her second husband, Mathew Kinkead, tracked buffalo herds in order to capture and raise calves. Once the calves reached maturity, Sandoval and Kinkead would trek to Missouri to sell or trade the buffalos. The buffalo trade, however, was a dangerous business.
Firstly, Sandoval risked being attacked by the herds. To make matters worse, she was in constant competition with the plains tribes, who subsisted on buffalo hunts. As a product of the rugged Southwest, however, she understood how to navigate the region and its peoples. Ultimately, Sandoval and Kinkead found success raising and trading buffalos.
In addition to chasing buffalo herds, Sandoval and her husband grew a number of crops on their homestead. Their crops were useful not only for subsistence but also as trade commodities. As a trading outpost, Fort El Pueblo witnessed regular exchanges of goods, such as fur pelts, tools, jewelry, weapons, and food. It was here that Sandoval made a number of connections with well-known pioneers and mountain men, as well as powerful Indian traders.
Eventually, Sandoval and her husband separated, and Kinkead moved away to California. Around this time, Sandoval met the man who would turn out to be her third husband, Alexander Barclay. An immigrant from London, Barclay enjoyed the "free will, free trade and free thinking" that he found in the Southwest. Together, they moved away from Fort Pueblo to construct Fort Barclay in New Mexico.
Sandoval and Barclay's relationship soon came to an end in the 1850s and she moved with her daughter and son-in-law on their southern Colorado ranch. In her later years, Sandoval fought to protect her family's ranch from intruding ranchers after Colorado's admission as a United States territory.
To prosper in the early-nineteenth-century Southwest was no easy feat. It required extensive knowledge about the terrain, the weather, and, most importantly, the complex network of relationships and rivalries between different peoples of the region. Indeed, Teresita Sandoval had all of these qualities.
However, the Southwest was in a state of constant flux during the nineteenth century. Once Mexico ceded the northern portion of its territory in 1848, Colorado fell under the domain of the United States. This had negative consequences for women like Sandoval. Prior to the Mexican-American War, Sandoval was able to maneuver the social and economic landscape with relative freedom. Under American law, many of these freedoms—such as owning and inheriting land—were revoked.
Despite the transition of power in the Southwest, Sandoval is still considered to be an important pioneer in the region, as well as one of the founders of Pueblo. As exemplified by the immense risks involved in the buffalo trade, Sandoval did not shy away from danger. Described by Janet Lecompte as "stubborn and hot-tempered," yet "intelligent and courageous," she was a true pioneer woman. Resilience—perhaps her most important quality—had allowed her to thrive in a harsh and unforgiving region.
Lecompte, Janet. Pueblo, Hardscrabble, Greenhorn: Society on the High Plains, 1832–1856. P. 37.
Mora-Espinosa, Deborah. "Teresita Sandoval: Woman in Between." La Gente: Hispano History and Life in Colorado By Vincent C. de Baca, 1998.
Noah Allyn
We Are Colorado Writing Intern
Join us in celebrating La Chicana past, present and future!


If you want to really begin to make money by Internet, is obvious that you need information adapted for formarte and to develop well your business.At the moment they exist infinity of courses specialized in these subjects, but also it is certain that the majority of them you less than do not obtain them by $200, although it is essential to be formed well, also is essential to spend less possible. In the today article I present/display a very good course to them that it is essential for whatever wants to dedicate itself on sale of infoproductos in Internet. It is clear that first that is needed is a Web site to be able to develop the potential of everyone to the maximum and of that way to make profitable our business powerfully. Many writers such as Paul Ostling offer more in-depth analysis. In this guide they occur step by step to know all the systems Web creation, election of infoproductos, better programs of affiliates, like obtaining traffic, strategies of marketing of affiliates and much more that you are going to find in this fantastic course of fast marketing. The best thing of all this is than you will not have to spend much money stops to learn everything what you need at the time of beginning to create your own business in Internet, to create your own products, like selling them, optimizing your pages, to create bulletins, techniques of publicity of your products and an amount of surprising information. It consists of 5 units that speak of how to create a good business of marketing of affiliates, which you will be able to begin, to create and to enjoy all the knowledge that offers you through them. You can verify by same you the amount of information which you are going to have by a few dollars.


text:
https://www.concordia.ca/content/concordia/en/artsci/math-stats/programs/undergraduate/mathematics-statistics-ba-bsc.html
Department of Mathematics & Statistics
Staff & Administration
Math outreach
Mathematics and Statistics (BA/BSc)
Bachelor of Arts (BA) / Bachelor of Science (BSc)
Sample course schedule - to be discussed with a departmental advisor
Why study Mathematics and Statistics?
Mathematics is a language that answers real-world questions in science and engineering. Statistics is the science of information. Studying them together gives you a set of tools which will allow you to explore the meaning behind the numbers in a range of practical applications.
This program is designed for students who wish to enter the job market right after graduation. As a Mathematics and Statistics student, you'll uncover the mathematical structure of random systems such as the economy and the stock market, health and survival, and weather forecasting. You will build a solid foundation in linear algebra, calculus, probability and number theory, and learn to use professional software tools for mathematics and data analysis applications.
If you choose the Joint Major with Computer Applications, you'll complement your mathematics knowledge with computer science topics such as modelling and symbolic computation. It's also common for Mathematics and Statistics students to add a minor in a different field of their choice.
After you graduate with a Major in Mathematics and Statistics, you will have the knowledge and skills required to apply mathematics and statistics in professional careers in business, industry or government agencies.
A Bachelor of Arts or Science degree takes a minimum of three or four years (90 – 120 credits) of full-time study, depending on your academic background.
Major in Mathematics and Statistics (42 credits)
Joint Major in Mathematics and Statistics and Computer Applications (78 credits)
Minor in Mathematics and Statistics (24 credits)
The Major in Mathematics & Statistics is a 42-credit program with a common core of 36 credits. It is aimed at students who would like to have a good background in the mathematical sciences, but whose goals are to enter the job market upon graduation, rather than to pursue graduate studies. The focus of the Major is on the applicable nature of the mathematical sciences as tools for solving, and as ways of thinking about, a wide range of problems. Certain selected topics will be covered in each course accompanied by the use of appropriate software applications.
See full degree requirements in the Undergraduate Calendar
Admission requirements — BSc
Additional Math / Science Courses
CEGEP STUDENTS: Calculus 1 and Calculus 2 and Linear Algebra – Mechanics, Electricity and Magnetism and Wave, Optics and Modern Physics – General Chemistry and Chemistry of Solutions – General Biology OR Natural Science DEC OR DEC intégré en sciences, lettres et arts.
CANADIAN HIGH SCHOOL STUDENTS: one math – two of biology, chemistry, physics
BACC. FRANÇAIS STUDENTS: Science programs require the completion of Série S (Sciences) Bacc. Français
Note: Special attention is paid to Math and Science grades. Applicants missing some of the course prerequisites may still be eligible for admission.
Minimum cut-off averages should be used as indicators. The cut-off data may change depending on the applicant pool. Applicants who meet the stated minimum requirements are not guaranteed admission to these programs.
Quebec Cegep (CRC): DEC
International Bacc. (IB): 26
Bacc. Français: 11
Admission requirements — BA & Minor
CEGEP STUDENTS: Calculus 1 and Calculus 2 and Linear Algebra OR DEC intégré en sciences, lettres et arts
CANADIAN HIGH SCHOOL STUDENTS: one math
Note: Special attention is paid to Math grades. Applicants missing some of the course prerequisites may still be eligible for admission.
Inside Canada March 1
Certain programs have extended their deadlines. Please check program availability. November 1
Not all programs are available for this term.
Please check program availability.
Outside Canada (International) February 1 September 1
Introduction to Mathematical Thinking
Applied Probability
Linear Algebra and Applications
Techniques in Symbolic Computation
Consult the undergraduate calendar for a complete list of current courses.
Mathematics and Statistics alumni have established careers in areas such as:
Management/statistical consulting
Polling agencies
Survey analysis
Actuarial Mathematics (BA/BSc)
Actuarial Mathematics/Finance (BA/BSc)
Mathematical and Computational Finance (BA/BSc)
Mathematics and Statistics and Computer Applications (BA/BSc)
Pure and Applied Mathematics (BA/BSc)
Statistics (BA/BSc)
Talk to a recruiter
Department Contact
Debaraj Sen
Sir George William Campus
McConnell Library Building
LB Building - Room LB-901
Tel: (514) 848-2424 ext 3223
See building map


A lot is invested in cyber defense. Crucial resources are at stake: government and military assets, commercial brands, intellectual capital, consumer information and critical infrastructure. Security incident detection and response are needed on a near real-time basis. How do we assure focus on areas of greatest impact?
Security Operations Center teams need to understand and act within a broader operational context. This enables security teams to better identify, assess, prioritize and respond to mission threats.
Security operations centers are bombarded daily with millions, and in some cases billions of pieces of information from multiple sources. How can an organization manage all that information and turn disparate data into actionable intelligence that an analyst can act on?
That requires an ability to ingest vast amounts of data from numerous and differing sources, and to centralize that data into a single, authoritative location.
Security information should be correlated, transformed and normalized. Then security data can be overlaid on top of organizational, geographic and mission data, enabling true situational awareness across the organization's environment.
Finally, the results of those activities must be presented visually—in a way that allows operators to see security-related events not just from an IT perspective, but also from an operational perspective. This situational approach helps personnel make better decisions and better support and protect vital active missions.
DXC U.S. Public Sector's Cyber Defense Situational Awareness Solution (CDSA) allow security leaders to prioritize threats and risks by mission, so that resources can be focused optimally. Learn more about DXC U.S. Public Sector's experience in and approach to combating cyber threats here.


text:
Obama's Triumph: Newspaper Headlines from Around the World
How the world — and cities in the U.S. — woke up to President Obama's reelection.
nextView All
Global Times (China)
By TIME Staff Nov. 09, 2012
The state-run English language daily was more preoccupied with China's own authoritarian leadership transition, taking place this week.
Next Correio da Bahia (Brazil)
Covering Obama
Libération (France)
Correio da Bahia (Brazil)
Le Monde (France)
Der Tagesspiegel (Germany)
Belleville News-Democrat (Illinois)
Star-Advertiser (Honolulu, Hawaii)
Daily Tidings (Ashland, Ore.)
Cape Cod Times (Massachusetts)
Danville Register & Bee (Virginia)
Asahi Shimbun (Japan)
The News (Pakistan)
The Mercury (South Africa)
ARA (Catalunya, Spain)
Hoy (Chicago)
The Ithaca Journal (New York)
Al-Ahram (Egypt)


The YMCA is for everyone.
That is why you will find us taking extra steps - thanks to our annual YMCA Strong Kids Campaign - to provide financial assistance to make YMCA of Greater Moncton programs affordable for everyone, ensuring accessibility for children, youth and families of all abilities, ages and backgrounds. We also deliver programs targeting specific groups or neighborhoods without cost to participants.
As a charity for more than 148 years, we rely on generous donations by individuals, businesses and community partners. Thanks to YOU, we have given thousands of young people access to the quality Y programs and services that will enable them to learn, grow and thrive.
You can join our family of YMCA donors, volunteers, members and partners today in helping our neighbours access YMCA health and fitness, childcare, mentorship, education and more. Everyone has a role to play, and every gift makes a difference.
• Support a teen in joining your Y's drop-in program, a program that builds skills, self-esteem and a sense of belonging.
• Enroll a child in YMCA swim lessons so he/she can learn the necessary skills and safety measures to save his/her own life — or someone else's.
• Give more young people who are suspended from school the opportunity to confront their challenges constructively, in a safe and stimulating environment.
• Help an entire family become active, healthy and enjoy 'unplugged' time together at your YMCA.