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King On A Crusade: A Sad Saga
Filed inside: Editorial
Last year, King, the studio behind Candy Crush Saga filed a trademark for the word "candy." Strange how one can own rights to such a common term, but the company makes boatloads of cash off of its property, so the move to protect itself isn't unprecedented (see: "Apple"). Earlier this week, the trademark was marked for approval.
The public has 30 days to send a statement of objection to the USPTO, but if no one is able to sway its opinion, then the studio will be given exclusive use of the word in video games and apparel. I imagine it wouldn't be too difficult, if granted, to then extend that reach to non-video game and clothing products, like future television shows or toys.
Anyways, the move clearly irritated people with common sense, especially other developers. "Lots of devs are frustrated cause it seems so ridiculous" says Benny Hsu, creator of All Candy Casino Slots – Jewel Craze Connect: Big Blast Mania Land. The ludicrously long-named game has already been targeted by King. Despite sharing no likenesses with King's games, it has been hit with the following statement:
"Your use of CANDY SLOTS in your app icon uses our CANDY trade mark exactly, for identical goods, which amounts to trade mark infringement and is likely to lead to consumer confusion and damage to our brand. The addition of only the descriptive term "SLOTS" does nothing to lessen the likelihood of confusion." A further statement called his game a "calculated attempt to use other companies' IP to enhance its own games, through means such as search rankings."
I mean, I guess?
Hsu's game is just one of several games targeted and, since most indie developers don't have the deep wallets to challenge King in court, will likely have to change the names of their games. Hsu already has. King's attempted to assuage fears, saying that the company wouldn't be heavy-handed in its approach to protecting its "constantly infringed" brand, stressing that they would not enforce the ruling against all uses of the word. "Some are legitimate and of course, we would not ask app developers who use the term legitimately to stop doing so."
Here's a very clear case of I'm-going-to-do-exactly-what-I-said-I-wouldn't.
Now, King has targeted developer Stoic for using the word "saga" in its successfully crowdfunded game, The Banner Saga. It should be noted that King actually successfully registered the trademark for the word "saga" in 2011 and has blocked many a game – like Konami's Animal Saga – from using the term since.
In response to the disgust the public expressed, King released a statement saying it is "not trying to stop Banner Saga from using its name. We do not have any concerns that Banner Saga is trying build on our brand or our content. However, like any prudent company, we need to take all appropriate steps to protect our IP, both now and in the future.
"In this case, that means preserving our ability to enforce our rights in cases where other developers may try to use the Saga mark in a way which infringes our IP rights and causes player confusion. If we had not opposed Banner Saga's trade mark application, it would be much easier for real copy cats to argue that their use of 'Saga' was legitimate."
Again, trying to protect its brand from copycat games that are too similar to its own. Fair enough. However, even the most cursory look at both games will tell you that they have absolutely nothing in common. King begs to differ.
A portion of King's Notice of Opposition against Stoic reads: "THE BANNER SAGA mark is confusingly and deceptively similar to Opposer's previously used SAGA marks…[It] is likely to cause confusion, mistake, or deception that Applicant's goods are those of Opposer, or are otherwise, endorsed, sponsored, or approved by Opposer for use with Opposer's goods causing further damage to Opposer."
Confusing? Deceptive? Nope. This is just sad. Why doesn't King's logic regarding protecting its use of the word "candy" also apply to "saga?" As in, "We don't enforce against all uses of [SAGA] – some are legitimate and of course, we would not ask App developers who use the term legitimately to stop doing so."
King is hoping to prevent Stoic from maintaining a legal right to use the word "saga," which would ultimately force Stoic to change the name. I knew very little about The Banner Saga prior to this week, but even I wouldn't have been confused by the games' titles. I mean, a single screenshot from each is enough to tell they aren't remotely similar.
I'M SO CONFUSED!
Then again, I'm not the idiot that King believes its products' consumers to be.
See, I love, love, love the fact that mobile games get more people to play video games. Because of that, I'm willing to overlook that most of them are terrible. I just ignore them and respect that they're helping others understand the hobby I hold so dear. However, a situation like this begs for a response.
Why does a game like The Banner Saga require a successful Kickstarter campaign to exist when something like Candy Crush generates bizarre amounts of revenue? The latter is by no means a better game – and I'm struggling to even deem it a "game." It requires no strategy and all progress depends completely upon how a stage is setup when it loads. Well, that, and money. It's merely a luck-based screen-tapping thing that people strangely sink real-world funds into when they could be throwing money at projects, like The Banner Saga, which have actual effort put into them. (Yes, this has made me quite bitter.)
Thankfully, Stoic intends to make more Saga games. Despite King's Notice of Opposition, The Banner Saga developers announced that they will continue to make games using the common term that no one should really ever have rights to.
"We won't make a viking saga without the word Saga, and we don't appreciate anyone telling us we can't," the statement reads. "King.com claims they're not attempting to prevent us from using The Banner Saga, and yet their legal opposition to our trademark filing remains. We're humbled by the outpouring of support and honored to have others stand with us for the right to their own Saga. We just want to make great games."
Amen to that. It would be splendid if King focused on doing the same.
Tags: app, app store, banner saga, bejeweled, candy, candy crush, candy crush saga, casual, developers, free to play, Kickstarter, king, microtransactions, saga, Stoic, strategy, The Banner Saga, trade mark, trade marks, trademark, trademarks
Written by Erik Sugay
I'm in the businesses of news curating, localization and multimedia design. I absolutely adore video games, graphic novels and all things related to geek culture, if you couldn't tell by the picture to your left.
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(英) In this paper, we integrate two essential processes, discretization of real-valued data and learning of models explaining them, to give a modern theoretical basis for Knowledge Discovery. Every real-valued datum, which is obtained by observations or experiments, is discretized for distribution through computer networks. However, most of data mining methods do not pay attention to the process; i.e., they ignore the gap between analog and digital data. To bridge the gap, we propose a novel measure of the difference between two sets, called the coding divergence, towards integrating discretization and data mining through computational learning theory. Furthermore, we construct a classifier using the divergence, and show the robustness by empirical experiments.
文献情報 信学技報, vol. 110, no. 76, IBISML2010-26, pp. 181-187, 2010年6月.


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Archive for The Wolfman
Hull-Hound
Posted in FILM with tags Ethel Griffies, Henry Hull, Jack Pierce, Lon Chaney, Spring Byington, The Wolfman, The Womaneater, Warner Oland, Werewolf of London on September 8, 2016 by dcairns
We never get a clear look at Warner Oland's chubby werewolf, and that has to be a good thing.
It's taken me this long to watch WEREWOLF OF LONDON, and God knows I've tried. As a kid I was no doubt eager to see it, but it never seemed to turn up on UK TV. As an adult, I was excited to finally get my hands on the thing, and then found it impossible to sit through.
This time around — third time's the charm — it didn't seem THAT bad — despite several strikes against it, it has a number of appealing images and ideas.
First the bad — Henry Hull is written as a completely unsympathetic boor, and that's just how he plays it, with an added suggestion of indifference and superiority to the material. In the abstract, it's kind of interesting the way the character perversely contradicts his own motivations — he's jealous of his wife but either ignores her or drives her a way, he quickly becomes convinced he is indeed infected with "werewolfery" (or worse, "lycanthrophobia") but rejects offers of help from the man who infected him. In practice, these traits are frustrating and dramatically self-defeating. "It defeats its own purpose," as Jake LaMotta would say.
Hull lacks the physical presence and skill to make a convincing transformation, and his werewolf performance consists largely of making a face like he's going to sneeze.
The comedy relief, zesty and startling in a James Whale film, is lumbering and ugly here. Last time I watched, I got as far as the two drunken landladies (one of them, Ethel Griffies, is the ornithologist from THE BIRDS — not that old, she would live another forty years). The film is full of menopausal women, Fiona pointed out, and they're all played as clowns. Spring Byington ("So romantic, with the Thames lapping at one's very threshold") is the main culprit. Worse is the way the so-called hero's lunar depredations are followed by jocular scenes at Scotland Yard, with the police chortling away together despite the wave of manglings sweeping the metropolis.
Good stuff — going all the way to Tibet to get bitten by a werewolf is gloriously excessive.
Gratuitous killer plants! An entirely satisfying horror movie about rival botanists could probably be concocted with no need for werewolfery at all. Although, there's THE WOMANEATER to prove me wrong.
Warner Oland in a role maybe planned for Lugosi — now he's a professor from the University of the Carpathians, with a Japanese name. And he's a LOVELY werewolf, much nicer than H.H.
Ah-ah-ah…. CHOO!
But I dig the way Hull remains somewhat compos mentis when wolfing about — he actually turns into a werewolf and then PUTS ON A HAT to go out. And he gets a deathbed speech in werewolf form. Though the principles of Lon Chaney wolfman mythos are being laid down here in an early form, the story is still in large part Jekyll & Hyde.
Also — GREAT first transformation, using foreground columns which occlude the frame, in a relay of shots connected by hidden wipes, so that Hull's makeup (by Universal monster supremo Jack Pierce) can develop in yak-fur increments.
The Oblong Box Set
Posted in FILM, literature, MUSIC, Mythology with tags Anthony Carreras, Anthony Hinds, Baby Leroy, Claude Rains, Cluny Brown, Curt Siodmak, Dario Argento, Dr Jekyll and Mr Hyde, Dracula Prince of Darkness, Edgar Barrier, Francis Matthews, Hume Cronyn, Jeanette MacDonald, Jimmy Sangster, Laura, Lenore Coffee, Lon Chaney Jnr, Maria Ouspenskaya, Miles Mander, Nelson Eddy, Ralph Bellamy, Samuel Hoffenstein, The Old Dark House, The Phantom of the Opera, The Wizard of Oz, The Wolfman, Warren William on January 9, 2013 by dcairns
Delving into my Universal Monsters The Essential Collection Blu-rays Christmas pressie — I was drawn to some of the lesser titles, partly so they wouldn't get neglected, partly so I could save some good ones for last. (All images here are from the lowly DVDs.)
First I ran THE WOLFMAN, which is not a very good film, alas. After THE OLD DARK HOUSE it's nice to have another Welsh-set Universal horror — a pity they couldn't have arranged for Melvyn Douglas to drop in as Penderell, or something. They manage to waste Warren William and miscast Ralph Bellamy, who doesn't get to exploit his uncanny ability to remind one of that fellow in the movies, what's his name? Ralph Bellamy, that's it.
Screenwriter Curt Siodmak, idiot brother of the great Robert, knew that Lon Chaney Jnr was ridiculous casting as a nobleman, but doesn't seem to have reflected too much on the implications of his story, which has a Gypsy tribe importing a contagion into peaceful Anglo-Saxon terrain. It's a distasteful narrative for a German-Jewish refugee to serve up to American audiences during wartime, the more I consider it.
As a kid, I was disappointed by the slow pace and lack of screen time awarded to Jack Pierce's make-up, which I dug. But I was fascinated by Maria Ouspenskaya, who seemed genuinely uncanny.
THE PHANTOM OF THE OPERA seems to have always been a tricky property — it has seminal scenes, the unmasking and the chandelier drop and the general mood of skulking about in shadows in a cape, but nobody seems able to settle on what order they should come in or who the characters ought to be. I think perhaps a failure to realize that Christine is the main point-of-view character lies at the heart of many of the problems — this may be the big thing Andrew Lloyd-Webber got right. But Chaney was the only one to get a good makeup, and played the character without any cast backstory, as a mystery.
The forties Technicolor version that's in the box set concentrates on singing and romance and comedy as much as melodrama, and top-loads the story with an origin for the Phantom that's sympathetic but deprives him of mystique — it also leaves no time for his Svengali act, surely the heart of the story. Claude Rains is in good form, though his coaching scenes as a disembodied voice are underexploited — this should have been the perfect companion piece to THE INVISIBLE MAN.
Screenwriter Samuel Hoffenstein is more important here than second-string director Arthur Lubin: he did a great job on Mamoulian's DR JEKYLL AND MR HYDE, so I don't know why this is so muted — partly the Production Code, I suppose. His other finest credits are THE WIZARD OF OZ, LAURA and CLUNY BROWN, and his gift for light comedy is more evident here than his knack for dramatic construction. The rather stunning ending, in which Jeanette MacDonald Susanna Foster chooses her career and her two beaux, Nelson Eddy and Edgar Barrier, go off together arm in arm to dinner, makes the thing worthwhile — they fade to black very fast at that point.
Oh, and the three-strip Technicolor is bee-you-tiful.
(Screenwriter and memoirist Lenore Coffee quotes a couple nice lines by Hoffenstein, not from his scripts but from his conversation. In response to the Variety headline BABY LEROY'S CONTRACT UP FOR RENEWAL, the Hoff remarked "If they don't meet his terms he'll go straight back to the womb… a swell place to negotiate from!" And when the legal department asked for a progress report on his latest script, a slightly tipsy S.H. bellowed "How any department as sterile as a legal department could have the impertinence to inquire into the progress of any writer, however poor… What do you think I do? Drink ink and pee scripts?")
I believe the scene where Claude Rains strangles Miles Mander had to be taken several times because Mander's head kept detaching when shaken.
Hume Cronyn has a tiny part and it's great fun watching him steal his scenes.
Backstory is a problem. I quite enjoyed the intro to Dario Argento's PHANTOM OF THE OPERA, in which the baby Phantom, cast adrift in the sewers in his cot, is rescued by rats, who presumably raise him as one of their own, like a rodent Tarzan. Tarzan had a fine operatic yodel, of course. But Argento's Phantom isn't deformed, he's Julian Sands, which leaves him no motivation to be masked or live underground or do any of the things the plot requires.
The Hammer PHANTOM, which I recently watched too, borrows heavily from the 1941 version — impoverished composer, acid scarring, etc. Apparently Cary Grant had expressed an interest in playing the Phantom, but his agent nixed it. I kind of wonder if that's why the meaningless hunchback character was added, in order to give all the murderous stuff to someone else. It's completely nonsensical and wrecks the film, which Terence Fisher handles rather nicely. Michael Gough's slimy Lord Ambrose is a one-note baddie, and Gough hammers that note with relentless enthusiasm. Herbert Lom gets almost nothing to do.
That one was cackhandedly written by Anthony Hinds, a Hammer producer. There are undoubtedly some great producers-turned-writers — Joseph Mankiewicz springs to mind. The trouble in general is that producers can give themselves the job of writing without having any ability at it, as I found when I worked for Tern Television. Both Anthony Carreras and Anthony Hinds at Hammer got a number of writing gigs, without having the slightest sense of story structure, or even apparent awareness of what a story IS.
Also watched DRACULA PRINCE OF DARKNESS since Fiona's brother was visiting, which Hinds authored — but his ramshackle narrative was fleshed out by the competent Jimmy Sangster, and then the very droll Francis Matthews acted in it, with delivery that's as close to Cary Grant as Hammer ever got. A line like "Well I'm sure it would be educational if we knew what was going on," isn't necessarily witty in itself, but he gets a laugh with it. And I have to take my hat off to Sangster for the line he awards Dracula's sepulchral manservant, Klove: "My master died without issue, sir… in the accepted sense of the term."
The UK release is cheaper than the American, though admittedly it doesn't come in its own coffin ~
Universal Classic Monsters: The Essential Collection [Blu-ray] [1931][Region Free]
Raymond Burr IS "Barney Chavez"…
Posted in FILM with tags Barbara Payton, Bela Lugosi, Billy Wilder, Bride of the Gorilla, Carol Varga, Curt Siodmak, Franchot Tone, Frankenstein Meets the Wolfman, Gisela Verbisek, I Walked With a Zombie, Lost Weekend, Manfish, Maria Ouspenskaya, Phantom from Space, Raymond Burr, Some Like it Hot, Spy in the Sky!, The Apartment, The Bride of Raymond Burr in a Gorilla Suit, The Wolfman, Tom Conway, Tom Neal, Val Lewton, William Lee Wilder on December 9, 2008 by dcairns
…in BRIDE OF THE GORILLA.
Barney is "an animal", according to those who know and love him, so who better to play him than the Mighty Burr, previously winner of a Shadowplay Award for services to eating?
My problem with this film is… where is it set? Africa, presumably, since a gorilla features so prominently in the title and the film itself (Hugo Barney is transformed into a man in an ape suit by malicious witch-doctoring). What then, to make of Lon Chaney's appearance as a "native policeman"? Chaney (seen below right attempting to cram a table up his arse) boldly plays this native without recourse to Al Jolson war-paint.
Writer-director Curt Siodmak (Idiot Brother* of the distinguished Robert) places his authorial stamp on the material from the off, with a tacky montage of jungle stock footage. "This is the jungle," slurs Chaney in V.O., immediately establishing himself as A Man You Can Trust. Yes, but which jungle, Lon?
Geographical issues continue to arise: how to explain the vaguely Mexican "natives", and the presence of California-accented Woody Strode as another native policeman — and Gisela Verbisek as "Al-Long" the witch doctress: a cheap Maria Ouspenskaya knock-off (although she looks more like the elderly Buster Keaton in drag), this blatantly Hungarian woman brings a welcome touch of the Old Country to the Dark Continent, while her hot daughter "Lorena" (Carol Varga), Barney's lover, wears a Maria Montez type sarong ensemble?
The film's true leading lady, Barbara Payton, provides a fantastic go-go vibe, kind of unexpected in what is essentially an exotic rehash of Siodmak's screenplay for THE WOLFMAN. Payton, a decent actress (everybody in this films is slumming, Tom Conway most of all) had a lively and ultimately tragic life and career. It was she whom Tom Neal and Franchot Tone fought over, with Tone ending up hospitalised and almost dead. Payton married Tone, then ditched him and went back to Neal, leaving him soon enough to avoid getting murdered (Neal shot his third wife in the head) but drifting into homelessness, alcoholism, prostitution — having already drifted into BRIDE OF THE GORILLA, which is bad enough.
Amazingly, Curt Siodmak is a better director than he is a writer, even though he made his living mostly as an author. His name is attached to one true classic, the oneiric calypso tragedy that is I WALKED WITH A ZOMBIE, although Val Lewton extensively reworked his script (Siodmak's original plot had Tom Conway zombifying his wife so he could continue to have sex with her animate corpse, which Lewton nixed on the grounds that, "She would have no vaginal warmth!" A valid objection, though not the first that would cross my mind). Otherwise, he wrote speeches for Bela Lugosi so bad they had to be cut from FRANKENSTEIN MEETS THE WOLFMAN, and sci-fi paperbacks full of ludicrous prose: "The moon leaped like a giant in the porthole," is a surreal favourite of mine. In BRIDE we get monologues like "Out there… in the jungle… out there, everything's different. My hands, my eyes… I can see further than I've ever seen before… I can climb as if I had wings… A thousand smells… flowers, plants, the animals. The jungle is my house!"
But as director he approaches competence. Sometimes he bypasses it and achieves actual STYLE, prowling through the jungle (WHICH jungle? PLEASE!) in subjective shots with big hairy paws in the foreground, even going handheld, like his countryman John Brahm in THE UNDYING MONSTER. And it's to his credit that he tries to keep the gorilla suit offscreen as much as possible. His dialogues are always played as "flat twos", it's true, with an occasional third character standing in the middle, which gets pretty funny during long scenes, where new characters keep coming in and standing where the old ones were a second ago.
OK, I admit it: the film is clearly identified as being set in the Amazon. There's no geographical problem, except the gypsy woman and Woody Strode and the fact that IT'S ABOUT A BIG MAGIC GORILLA.
I was also wondering why, asides from the obvious reason of not wanting to terrify the audience TOO much, Barney has his clothes on after he changes back from being the gorilla, who doesn't have any clothes on. Then I decided that what the film hadn't told us was that the Amazonian gypsy curse actually causes Barney to go out into the jungle and PUT ON A GORILLA SUIT. Which would explain why the gorilla in this film is obviously a guy in a suit. But then, shouldn't the film be called THE BRIDE OF RAYMOND BURR IN A GORILLA SUIT?
It should. Because not only is that more accurate, it's also a far more enticing title.
*I'm fascinated by the phenomenon of the Idiot Brother, maybe because my siblings are both productive members of society, making me one. William Lee Wilder, brother of Billy (their mother REALLY liked that name) is another great I.B. — for every LOST WEEKEND, SOME LIKE IT HOT or THE APARTMENT made by the multi-Oscar winning Billy, W. Lee was ready to respond with a PHANTOM FROM SPACE, a MAN WITHOUT A BODYor a MANFISH, like a one-man campaign to disprove genetics.
Release the Sr. cut!
The Sunday Intertitle: Limited Edition January 29, 2023

redpajama_set_name: RedPajamaCommonCrawl


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"We really have this incredibly simplistic view of why people work and what the labor market looks like.". (Cheat Sheet), If you're feeling stuck doing something for X or Y reasons, but wish that you were more excited to get up for work each day, try creating excitement yourself. "When we think about labor, we usually think about motivation and payment as the same thing, but the reality is that we should probably add all kinds of things to it: meaning, creation, challenges, ownership, identity, pride, etc.," Ariely says. She's contributed to The New York Times Magazine, The Paris Review Daily, The Atlantic Cities, and Scientific American Mind, among other places. The best job in this song is fireman. (and How to Fix It), upon which his TEDx talk was based. Employees will work longer on a day-to-day basis. But Do They Work? ) "We really have this incredibly simplistic view of why people work and what the labor market looks like." Instead, when you look carefully at the way people work, he says, you find out there's a lot more at play — and at stake — than money. This includes, he says, having "less time spent in cars, less pollution and a chance for people to reclaim some flexibility and have more work-life balance." Jessica Gross is a writer based in New York City. That's a long time, so it makes sense that people expect to work at a company with a good work-life environment and fair compensation. Jessica has a Master's degree in cultural reporting and criticism from New York University and a Bachelor's in anthropology from Princeton University. Wearing a mask, for most Americans, is novel. It's totally valid to have a transitional position in the meantime while you figure things out. Now, Risha Grant, a public relations professional and diversity and inclusion expert, asked white people on her Facebook feed, to list the things that black people say or may do that annoy them. The primary mission of the social work profession is to enhance human well-being and help meet basic and complex needs of all people, with a particular focus on those who are vulnerable, oppressed, and living in poverty. Why Choose the Social Work Profession? Exercising causes the body to make chemicals that can help a person to feel good. Why do we do that? (HBR), According to Niall Doherty, there are only two reasons to get a job: to earn and to learn. If you love to travel, own a collection, or create art for fun, having a well-paying job that finances your hobbies can be just as good. Exercise benefits every part of the body, including the mind. Everyday we do to work, here's 5 reasons why #IBMChangingTheWorld | iHeartRadio "Welfare helps people work" may sound like a strange and counterintuitive claim to some. But you're wondering: Do they work? But it's not the only, one-size-fits-all intuition to follow, and it's certainly not the only reason to say yes to a new opportunity. Though people do become less risk-seeking as they age and as they enter into stable relationships, Wilke said men's testosterone level can shoot … In contrast, kids praised for their hard work were more interested in the higher-scoring exams. 19. (Career Attraction), Who said you have to live your passion during your 9-to-5 anyway? THERE is a scene in Crazy, Not Insane, a documentary about the work of … For instance, in 2015, the French worked an average of 1,482 hours a year, while American workers worked about 1,790 hours, according to the Organisation for Economic Co … Well, maybe. It can also help some people who have mild depression and low self-esteem. We've all heard this advice before: Follow your passion. I will answer this question in 2 parts. Learn more about Caroline, 15% off Career Coaching | Use code CYBER15 through Dec 13th |. But if it's a stepping-stone to something you might want to do later on, it's an absolutely respectable thing to take on.
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I was using Spybot (but have deleted it) along with Adware and Avira antivirus and ZoneAlarm and RegCure.
I think Spybot deleted or just messed up my PST file. When I go to it it scans it, says it's ok and I cannot get into it or transfer it to disk.
I am only able to use Outlook into safe mode.
As long as it is still working I am ok, except that it drives me nuts to have to do crtl-alt-delete, then re-enter Outlook into safe mode every time I use it.
Is this something I can fix myself or should I pay money to have someone else fix this?
It sounds like something in your startup list is causing a problem. Try using msconfig, see here, to eliminate the problem process. Use the link to Sysinfo to decide what's necessary and what isn't. It'll take you some time, but it should sort things.


text:
Currently viewing: S-01 | SummaryS-02 | Summary001 Key | Experimental result002 Supporting | Read-across (Structural analogue / surrogate)003 Weight of evidence | Read-across (Structural analogue / surrogate)004 Disregarded | Experimental result005 Disregarded | Experimental result006 Disregarded | Experimental result007 Disregarded | Experimental result008 Disregarded | Experimental result009 Disregarded | Experimental result
The lowest valid value for acute and chronic toxicity to freshwater algae is >36.6 and 2.11 mg Sb/L for Pseudokirchneriella subcapitata (Heijerick and Vangheluwe, 2004).
There are no valid studies with marine algae.
There are only two reliable studies in which the effect of antimony on algal growth was studied (Heijerick and Vangheluwe, 2004; LISEC, 2001).
In the study by Heijerick and Vangheluwe (2004) exponentially growing cultures of the unicellular green alga Pseudokirchneriella subcapitata were exposed to various concentrations of trivalent antimony (SbCl3) for a period of 72 h. This study was performed with three replicates, seven concentrations (range: 1.22 – 36.6 mg Sb/L) and a control (<0.002 mg Sb/L), using growth as an endpoint, resulting in the same NOEC value, 2.11 mg Sb/L, for both biomass growth (EbCx) and growth rate (ErCx), with the latter being the preferred parameter according to the revised ISO 8692 guideline. The resulting NOEC for algae is thus 2.11 mg Sb/L, with a corresponding LOEC of 4.00 mg Sb/L.
In the study by LISEC (2001) exponentially growing cultures of the unicellular green algae Pseudokirchneriella subcapitata were exposed to various concentrations of trivalent antimony (Sb2O3) for a period of 72 h. This study was performed with three replicates, six concentrations (range: 0.074 – 2.4 mg Sb/L) and a control, using growth as an endpoint, and resulted in two NOEC values, 0.323 and 0.396 mg Sb/L. The former was calculated for growth (biomass), and the latter was calculated for growth rate, which is the preferred parameter according to the revised ISO 8692 guideline. The resulting NOEC for algae is thus 0.396 mg Sb/L, with a corresponding LOEC of 1.32 mg Sb/L. However, this NOEC value will not be taken forward as the key endpoint from this study. Instead the highest concentration tested, with an inhibition of growth rate of 3% will be used. The reason for using the highest tested concentration of 2.4 mg Sb/L, instead of the reported NOEC or the LOEC (EC3), is that it is not totally clear whether the true beginning of a real dose-response curve is observed, since the highest concentration tested only resulted in an inhition of 3% using the recommended endpoint of growth rate. This study has an unusually low variation between the replicates, and a very low effect, even at the highest concentration tested, as shown in the table below.
Inhibition of the growth rate of Pseudokirchneriella subcapitata due to exposure to Sb2O3(LISEC, 2001).
Measured conc. (mg Sb/L) 0 0.074 0.156 0.323 0.396 1.32 2.4
Inhibition growth rate (%) - 0.8 0.8 0.1 1 2.3 3
Relative standard deviation (%) 2.1 2.2 1.8 1.1 1.8 3.5 1.2
A confirmatory test would most likely result in a higher NOEC due to the normally much larger variation. A review of data from 41 algal tests indicates that the ErC10on average corresponds reasonably well with the NOEC (Heitmann and Staveley, 2003). The choice of the highest concentration tested as the key concentration from this study may therefore still be considered as protective, since the inhibition at this concentration is only 3%. As a result of the low effect at the highest concentration, i. e. 3 %, no EC50 could be determined.
The study by LISEC (1994) on Selenastrum capricornutum (now known as Pseudokirchneriella subcapitata) is considered unreliable, despite measured concentrations being reported. The reasons are that (i) the reported effect concentrations were not based on the dissolved concentrations but on nominal concentrations, as the total measured concentrations, which consisted of "whole media" (dissolved and dispersed amount of test material) were within 10% of the nominal concentrations, (ii) the measured concentrations in the filtrate differed substantially between the samples taken at the start (0 h) and the end (72 h) of the experiment (with higher concentrations at the end of the experiment). In addition, the EC50 based on growth rate is extrapolated since only a 16% inhibition in growth rate was observed in the highest test concentration, which exceeds the maximum solubility of Sb2O3.


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January 29, 2016 Admin	0 Comments
The CFPB will face PHH Corp in the D.C. Circuit Court of Appeals April 12 after the mortgage lender fought back against a stiff penalty ordered byDirector Richard Cordray.
The case stemmed from a CFPB order against PHH after the lender allegedly accepted kickbacks from mortgage insurers, which led to rising costs for borrowers. PHH fought the resulting CFPB fine of $109 million, calling into question the agency's and Cordray's authority.
In court documents, PHH cited Cordray's decision to override a portion of an administrative law judge's decision – which stemmed from an appeal by PHH on the original matter – and his choice to inflate the original fine of $6 million to $109 million.
PHH referred to the decision as the very definition of tyranny because it was at the hands of the agency's solitary director.
As a result of the company's appeal, the CFPB applied its authority over RESPA rules, which were transferred to the bureau as part of the Dodd-Frank Act. The fine was increased when Cordray applied the date RESPA was applicable to mortgages, which was on or before July 21, 2008, as opposed to the effective date of the CFPB's authority on July 21, 2011, court documents said.
PHH argued the RESPA rules in question were ambiguous and the director's interpretation of the rules were not valid. However, the CFPB argued the director's reasonable interpretation resolved the ambiguity in the rules.
PHH further argued both the CFPB and its director acted in a "brazen disregard for judicial authority, agency precedent and fair notice," which it said was symptomatic of a larger constitutional problem.
The company added that even if the director's interpretation was permissible, it could apply to conduct dating back to and before 2013, which was the last time PHH received any mortgage reinsurance premiums.
"The director's autocratic approach is the all-too-predictable result of his unprecedented lack of democratic accountability, which violates the constitutional separation of powers," PHH said in court documents. "The sanctions imposed are also invalid because the injunctive provisions are vague, overbroad and outside the CFPB's authority."
PHH added that the court should vacate the director's actions.
The company received a stay of the bureau's order on Aug. 3, 2015.
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October 9, 2013, 3:25 pm 0 Edit
The mechanism designed to gauge how well Jewish Pittsburgh is meeting the needs of its people, now and in the future, was finally rolled out last week.
Two years in the planning stage, the Pittsburgh Jewish Community Scorecard, got its introduction at the Jewish Federation of Greater Pittsburgh annual meeting, with "Building Community" as its theme.
"This is a unique program, which no one else in the country is doing," outgoing Federation Chair Lou Plung said.
The Scorecard was introduced just one day after American Jews received a stark report on the state of their community from the Pew Research Center. The Pew survey of U.S. Jews confirmed that the intermarriage rate continues to climb, that those couples are less likely to raise their kids Jewish, and that 32 percent of the youngest generation tracked — the so-called "Millenials" — say they have "no religion."
"We're losing our Jews," Federation President and CEO Jeffrey Finkelstein warned in his address at the annual meeting.
"Community Building" is an appropriate theme for the Scorecard project, which is designed not only to help agencies and congregations perform better, but to assist individuals make informed decisions about their own Jewish expressions.
The key to the program is data, all kinds of which will be gathered on an ongoing basis and used to help gauge how the community is handling all aspects of community life.
Specifically, the Scorecard project — a cooperative effort of the Federation, agencies, and congregations — involves gathering data pertaining to nine broad-based areas, analyzing that data, posting it online where the community can see it, then using it to make decisions to improve each area.
For example, if the data showed Pittsburgh sent x number of kids to Israel last year, the process would analyze the impact of those trips, whether the number of kids sent was sufficient, and whether and how to increase the number.
The first so-called "scorecard" may be out by the end of the year. By itself, it may not say much, according to sources close to the project, but trends, issues and stories will become more apparent as data is continuously added in the coming months and years.
"It's an iterative process; it will constantly be changing," said Meryl Ainsman, who chairs the lay-professional committee that is shepherding the Scorecard project. "It's never been done — certainly in any Jewish community … it's never been done in this manner."
The nine areas for which the Scorecard project will collect data are:
• Jewish learning for adults, teens and children;
• Jewish identity and peoplehood;
• Affiliation and participation;
• Seniors and their families;
• Poverty and emergency assistance;
• Leadership development;
• Collaboration and synergy;
• Revenue; and
• Cost management.
Each set of data will be published online as a "scorecard," said Raimy Rubin, community scorecard manager at the Federation. The first wave, he said, is largely an inventory of things already being collected in the community," he explained — for example, day school enrollment.
The next scorecard will be based on an Internet survey, which will be distributed as widely as possible throughout the community with the help of agencies, congregations, publications and word of mouth.
"We want to make this an accurate picture of the community," Rubin said, "and the more people who [receive and respond to it] the more accurate it will be, so we're going to do word of mouth and blast it out.
"Everyone is going to be given the opportunity to participate," he added. "It wouldn't be a 360 view of the community if we didn't do that."
All subsequent scorecards will pertain to issues or questions not previously addressed.
"The buzzword we keep using is iterative," Rubin said. "As we go along, we'll keep finding things we should be asking, so next time we'll ask them."
Ainsman predicted a "staggering" amount of data will be collected, and that's the challenge the project faces.
"We need to figure out how we're going to make make this chewable," Ainsman said, "that it is not so overwhelming to people."
To help that effort, the committee has hired Jack Ukeles of Ukeles Associates, Inc., which conducted the 2001-02 Community Survey of Jewish Pittsburgh, as its project consultant. Ukeles anticipates that each scorecard released will be "comprehensive," addressing many of the nine subject areas, but packaged so that a particular set of findings, which tells the most interesting story, will be highlighted.
"It should be a community building vehicle, because it's going is to be transparent," Ukeles said. "It's going to be out there for everyone to see, and hopefully … seeing the [information] out there will get people excited about the question, what does it mean to be a growing Jewish community?"
While now acting more as an advisor, Ukeles said he was originally engaged in planning the project, working with the lay-professional committee to answer specific questions such as how frequently scorecards would come out (once a year with semiannual updates), would the data be released in print or online (online) and would congregations be included in the process (they are).
"They're an important gateway in to Jewish life," Ukeles said. "If synagogues aren't flourishing, it's hard to say the community is flourishing."
Rubin said the data must be usable, not just by agencies and congregations, but by individuals as well.
"My goal from an organizational standpoint is whatever organization you're in you'll be able to take the information we present and make better decisions because of it," Rubin said, "and as a member of the community, I can be able to look at the scorecard and say, I can do a better job of raising my kids to be Jewishly engaged."
In other words, Rubin said, individuals need not wait for their organizations to use the data collected; they can use it right away.
According to Ukeles, the Scorecard project had its beginnings in 2010 when the Federation and other agencies were working through a process to improve their governance.
They discovered they pretty much shared a common vision for themselves and the community, he said. "That vision was articulated as creating a 'thriving, engaged, vibrant Jewish community.' "
To achieve that end, they hatched the idea of the Scorecard project, which Ukeles described as "a system of metrics and measurements for measuring progress toward the vision."
While some federations around the country have scorecards for measuring their own effectiveness, Ukeles said Jewish Pittsburgh is taking the idea to a new level.
"As near as I can tell, there is no other community in the United States — a Jewish community — that has developed the scorecard," he said. "There are federations that have one to look at how good a federation they are, but no Jewish community I know of has ever developed a system to measure how good a community they are."
All data gathered through the Scorecard project will be accessible at
jewishscorecard.com.
Rubin said the layout of the website is close to completion, but content won't be loaded until the scorecard is ready to be published.
The Scorecard is a community project, not a Federation project, Ainsman noted.
"That's one of the things that has to come out loud and clear. "In the project's logo," she said, "the federation is one of the cogs in the logo, but it's just one of the cogs."
She also noted that Scorecard is not a report card on the effectiveness of any agency or congregation.
"This is not to call out anyone; this not to cut anyone's finding," she said. "This is to evaluate how we as a community are performing in the areas I just talked about. The last thing we want is to put people on the defensive; we want people to embrace it."
(Lee Chottiner can be reached at leec@thejewishchronicle.net.)


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Danny Collins is confident Grimsby Town's blend of youth and experience will help them reach the next level in League Two this season.
After making the centre-back position his own last season, the 36-year-old looks set to be joined at the heart of the Mariners defence by Nathan Clarke following the 33-year-old's signing.
In contrast to Town's experienced back four – which could also feature 36-year-old Ben Davies – the rest of the team has a slightly more youthful look to it.
And with the arrival of the likes of Mitch Rose (22), Siriki Dembele (20) and Sam Kelly (23), as well as Youth Team graduates Tom Sawyer and Jack Keeble entering the first team ranks this season, Collins feels the side have a good blend going into the new campaign.
"I've had a few chats with Nathan and he seems like a decent lad – he'll settle in pretty quickly I'd imagine," Collins told the Telegraph.
"He's obviously experienced and he's obviously played for the gaffer at a couple of other clubs, so we've got a good bit of experience in the back lines.
"Obviously you need a bit of a mixture, and we've got a few of the younger boys coming through from the YTs from last season and one or two faces that the gaffer has brought in for the wide areas and the middle of the park.
The 2017/18 campaign will be Collins' first full season with Town following his arrival at Blundell Park in September last year.
And, while there may have been some interest from elsewhere following his impressive performances at the heart of the Mariners' defence, he's ready and raring to go once again in the famous black and white.
"I'm pleased to be staying here, I really enjoyed last season.
"I think the gaffer's obviously looking to bring in one or two fresh faces this summer, and we'll certainly be looking to push on from last year. The aim for us, certainly at least, is to get into the Play-Offs.
"I think my agent spoke to one or two clubs. Grimsby were keen to get something done quite quickly, as was I before I went away on holiday.


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text:
/* Desc: The base joint class
 * Author: Nate Koenig, Andrew Howard
 * Date: 21 May 2003
 */

#ifndef _JOINT_HH_
#define _JOINT_HH_

#include <string>
#include <vector>

#include <boost/any.hpp>

#include "gazebo/common/Event.hh"
#include "gazebo/common/Events.hh"
#include "gazebo/math/Angle.hh"
#include "gazebo/math/Vector3.hh"
#include "gazebo/msgs/MessageTypes.hh"

#include "gazebo/physics/JointState.hh"
#include "gazebo/physics/Base.hh"
#include "gazebo/physics/JointWrench.hh"

/// \brief maximum number of axis per joint anticipated.
/// Currently, this is 2 as 3-axis joints (e.g. ball)
/// actuation, control is not there yet.
#define MAX_JOINT_AXIS 2

namespace gazebo
{
  namespace physics
  {
    /// \addtogroup gazebo_physics
    /// \{

    /// \class Joint Joint.hh physics/physics.hh
    /// \brief Base class for all joints
    class Joint : public Base
    {
      /// \enum Attribute
      /// \brief Joint attribute types.
      public: enum Attribute
              {
                /// \brief Fudge factor.
                FUDGE_FACTOR,

                /// \brief Suspension error reduction parameter.
                SUSPENSION_ERP,

                /// \brief Suspension constraint force mixing.
                SUSPENSION_CFM,

                /// \brief Stop limit error reduction parameter.
                STOP_ERP,

                /// \brief Stop limit constraint force mixing.
                STOP_CFM,

                /// \brief Error reduction parameter.
                ERP,

                /// \brief Constraint force mixing.
                CFM,

                /// \brief Maximum force.
                FMAX,

                /// \brief Velocity.
                VEL,

                /// \brief High stop angle.
                HI_STOP,

                /// \brief Low stop angle.
                LO_STOP
              };

      /// \brief Constructor
      /// \param[in] Joint parent
      public: explicit Joint(BasePtr _parent);

      /// \brief Destructor
      public: virtual ~Joint();

      /// \brief Set pose, parent and child links of a physics::Joint
      /// \param[in] _parent Parent link.
      /// \param[in] _child Child link.
      /// \param[in] _pose Pose containing Joint Anchor offset from child link.
      public: void Load(LinkPtr _parent, LinkPtr _child,
                        const math::Pose &_pose);

      /// \brief Load physics::Joint from a SDF sdf::Element.
      /// \param[in] _sdf SDF values to load from.
      public: virtual void Load(sdf::ElementPtr _sdf);

      /// \brief Initialize a joint.
      public: virtual void Init();

      /// \brief Update the joint.
      public: void Update();

      /// \brief Update the parameters using new sdf values.
      /// \param[in] _sdf SDF values to update from.
      public: virtual void UpdateParameters(sdf::ElementPtr _sdf);

      /// \brief Reset the joint.
      public: virtual void Reset();

      /// \brief Set the joint state.
      /// \param[in] _state Joint state
      public: void SetState(const JointState &_state);

      /// \brief Set the model this joint belongs too.
      /// \param[in] _model Pointer to a model.
      public: void SetModel(ModelPtr _model);

      /// \brief Get the link to which the joint is attached according
      /// the _index.
      /// \param[in] _index Index of the link to retreive.
      /// \return Pointer to the request link. NULL if the index was
      /// invalid.
      public: virtual LinkPtr GetJointLink(int _index) const = 0;

      /// \brief Determines of the two bodies are connected by a joint.
      /// \param[in] _one First link.
      /// \param[in] _two Second link.
      /// \return True if the two links are connected by a joint.
      public: virtual bool AreConnected(LinkPtr _one, LinkPtr _two) const = 0;

      /// \brief Attach the two bodies with this joint.
      /// \param[in] _parent Parent link.
      /// \param[in] _child Child link.
      public: virtual void Attach(LinkPtr _parent, LinkPtr _child);

      /// \brief Detach this joint from all links.
      public: virtual void Detach();

      /// \brief Set the axis of rotation where axis is specified in local
      /// joint frame.
      /// \param[in] _index Index of the axis to set.
      /// \param[in] _axis Vector in local joint frame of axis direction
      ///                  (must have length greater than zero).
      public: virtual void SetAxis(int _index, const math::Vector3 &_axis) = 0;

      /// \brief Set the joint damping.
      /// \param[in] _index Index of the axis to set, currently ignored, to be
      ///                   implemented.
      /// \param[in] _damping Damping value for the axis.
      public: virtual void SetDamping(int _index, double _damping) = 0;

      /// \brief Returns the current joint damping coefficient.
      /// \param[in] _index Index of the axis to get, currently ignored, to be
      ///                   implemented.
      /// \return Joint viscous damping coefficient for this joint.
      public: double GetDamping(int _index);

      /// \brief Callback to apply damping force to joint.
      public: virtual void ApplyDamping();

      /// \brief Connect a boost::slot the the joint update signal.
      /// \param[in] _subscriber Callback for the connection.
      /// \return Connection pointer, which must be kept in scope.
      public: template<typename T>
              event::ConnectionPtr ConnectJointUpdate(T _subscriber)
              {return jointUpdate.Connect(_subscriber);}

      /// \brief Disconnect a boost::slot the the joint update signal.
      /// \param[in] _conn Connection to disconnect.
      public: void DisconnectJointUpdate(event::ConnectionPtr &_conn)
              {jointUpdate.Disconnect(_conn);}

      /// \brief Get the axis of rotation.
      /// \param[in] _index Index of the axis to get.
      /// \return Axis value for the provided index.
      public: math::Vector3 GetLocalAxis(int _index) const;

      /// \brief Get the axis of rotation in global cooridnate frame.
      /// \param[in] _index Index of the axis to get.
      /// \return Axis value for the provided index.
      public: virtual math::Vector3 GetGlobalAxis(int _index) const = 0;

      /// \brief Set the anchor point.
      /// \param[in] _index Indx of the axis.
      /// \param[in] _anchor Anchor value.
      public: virtual void SetAnchor(int _index,
                                     const math::Vector3 &_anchor) = 0;

      /// \brief Get the anchor point.
      /// \param[in] _index Index of the axis.
      /// \return Anchor value for the axis.
      public: virtual math::Vector3 GetAnchor(int _index) const = 0;

      /// \brief Set the high stop of an axis(index).
      /// \param[in] _index Index of the axis.
      /// \param[in] _angle High stop angle.
      public: virtual void SetHighStop(int _index,
                                       const math::Angle &_angle);

      /// \brief Set the low stop of an axis(index).
      /// \param[in] _index Index of the axis.
      /// \param[in] _angle Low stop angle.
      public: virtual void SetLowStop(int _index,
                                      const math::Angle &_angle);

      /// \brief Get the high stop of an axis(index).
      /// This function is replaced by GetUpperLimit(unsigned int).
      /// If you are interested in getting the value of dParamHiStop*,
      /// use GetAttribute(hi_stop, _index)
      /// \param[in] _index Index of the axis.
      /// \return Angle of the high stop value.
      public: virtual math::Angle GetHighStop(int _index) = 0;

      /// \brief Get the low stop of an axis(index).
      /// This function is replaced by GetLowerLimit(unsigned int).
      /// If you are interested in getting the value of dParamHiStop*,
      /// use GetAttribute(hi_stop, _index)
      /// \param[in] _index Index of the axis.
      /// \return Angle of the low stop value.
      public: virtual math::Angle GetLowStop(int _index) = 0;

      /// \brief Get the effort limit on axis(index).
      /// \param[in] _index Index of axis, where 0=first axis and 1=second axis
      /// \return Effort limit specified in SDF
      public: virtual double GetEffortLimit(int _index);

      /// \brief Get the velocity limit on axis(index).
      /// \param[in] _index Index of axis, where 0=first axis and 1=second axis
      /// \return Velocity limit specified in SDF
      public: virtual double GetVelocityLimit(int _index);

      /// \brief Set the velocity of an axis(index).
      /// \param[in] _index Index of the axis.
      /// \param[in] _vel Velocity.
      public: virtual void SetVelocity(int _index, double _vel) = 0;

      /// \brief Get the rotation rate of an axis(index)
      /// \param[in] _index Index of the axis.
      /// \return The rotaional velocity of the joint axis.
      public: virtual double GetVelocity(int _index) const = 0;

      /// \brief Set the force applied to this physics::Joint.
      /// Note that the unit of force should be consistent with the rest
      /// of the simulation scales.  Force is additive (multiple calls
      /// to SetForce to the same joint in the same time
      /// step will accumulate forces on that Joint).
      /// Forces are truncated by effortLimit before applied.
      /// \param[in] _index Index of the axis.
      /// \param[in] _effort Force value.
      public: virtual void SetForce(int _index, double _effort) = 0;

      /// \brief check if the force against velocityLimit and effortLimit,
      /// truncate if necessary.
      /// \param[in] _index Index of the axis.
      /// \param[in] _effort Force value.
      /// \return truncated effort
      public: double CheckAndTruncateForce(int _index, double _effort);

      /// \brief @todo: not yet implemented.
      /// Get external forces applied at this Joint.
      /// Note that the unit of force should be consistent with the rest
      /// of the simulation scales.
      /// \param[in] _index Index of the axis.
      /// \return The force applied to an axis.
      public: virtual double GetForce(unsigned int _index);

      /// \brief get internal force and torque values at a joint.
      ///
      ///   The force and torque values are returned in  a JointWrench
      ///   data structure.  Where JointWrench.body1Force contains the
      ///   force applied by the parent Link on the Joint specified in
      ///   the parent Link frame, and JointWrench.body2Force contains
      ///   the force applied by the child Link on the Joint specified
      ///   in the child Link frame.  Note that this sign convention
      ///   is opposite of the reaction forces of the Joint on the Links.
      ///
      ///   FIXME TODO: change name of this function to something like:
      ///     GetNegatedForceTorqueInLinkFrame
      ///   and make GetForceTorque call return non-negated reaction forces
      ///   in perspective Link frames.
      ///
      ///   Note that for ODE you must set
      ///     <provide_feedback>true<provide_feedback>
      ///   in the joint sdf to use this.
      ///
      /// \param[in] _index Not used right now
      /// \return The force and torque at the joint, see above for details
      /// on conventions.
      public: virtual JointWrench GetForceTorque(unsigned int _index) = 0;

      /// \brief Set the max allowed force of an axis(index).
      /// Note that the unit of force should be consistent with the rest
      /// of the simulation scales.
      /// \param[in] _index Index of the axis.
      /// \param[in] _force Maximum force that can be applied to the axis.
      public: virtual void SetMaxForce(int _index, double _force) = 0;

      /// \brief Get the max allowed force of an axis(index).
      /// Note that the unit of force should be consistent with the rest
      /// of the simulation scales.
      /// \param[in] _index Index of the axis.
      /// \return The maximum force.
      public: virtual double GetMaxForce(int _index) = 0;

      /// \brief Get the angle of rotation of an axis(index)
      /// \param[in] _index Index of the axis.
      /// \return Angle of the axis.
      public: math::Angle GetAngle(int _index) const;

      /// \brief Get the angle count.
      /// \return The number of DOF for the joint.
      public: virtual unsigned int GetAngleCount() const = 0;

      /// \brief If the Joint is static, Gazebo stores the state of
      /// this Joint as a scalar inside the Joint class, so
      /// this call will NOT move the joint dynamically for a static Model.
      /// But if this Model is not static, then it is updated dynamically,
      /// all the conencted children Link's are moved as a result of the
      /// Joint angle setting.  Dynamic Joint angle update is accomplished
      /// by calling JointController::SetJointPosition.
      /// \param[in] _index Index of the axis.
      /// \param[in] _angle Angle to set the joint to.
      public: void SetAngle(int _index, math::Angle _angle);

      /// \brief Get the forces applied to the center of mass of a physics::Link
      /// due to the existence of this Joint.
      /// Note that the unit of force should be consistent with the rest
      /// of the simulation scales.
      /// \param[in] index The index of the link(0 or 1).
      /// \return Force applied to the link.
      public: virtual math::Vector3 GetLinkForce(unsigned int _index) const = 0;

      /// \brief Get the torque applied to the center of mass of a physics::Link
      /// due to the existence of this Joint.
      /// Note that the unit of torque should be consistent with the rest
      /// of the simulation scales.
      /// \param[in] index The index of the link(0 or 1)
      /// \return Torque applied to the link.
      public: virtual math::Vector3 GetLinkTorque(
                  unsigned int _index) const = 0;

      /// \brief Set a non-generic parameter for the joint.
      /// replaces SetAttribute(Attribute, int, double)
      /// \param[in] _key String key.
      /// \param[in] _index Index of the axis.
      /// \param[in] _value Value of the attribute.
      public: virtual void SetAttribute(const std::string &_key, int _index,
                                        const boost::any &_value) = 0;

      /// \brief Get a non-generic parameter for the joint.
      /// \param[in] _key String key.
      /// \param[in] _index Index of the axis.
      /// \param[in] _value Value of the attribute.
      public: virtual double GetAttribute(const std::string &_key,
                                                unsigned int _index) = 0;

      /// \brief Get the child link
      /// \return Pointer to the child link.
      public: LinkPtr GetChild() const;

      /// \brief Get the parent link.
      /// \return Pointer to the parent link.
      public: LinkPtr GetParent() const;

      /// \brief Fill a joint message.
      /// \param[out] _msg Message to fill with this joint's properties.
      public: void FillMsg(msgs::Joint &_msg);

      /// \brief Accessor to inertia ratio across this joint.
      /// \param[in] _index Joint axis index.
      /// \return returns the inertia ratio across specified joint axis.
      public: double GetInertiaRatio(unsigned int _index) const;

      /// \brief:  get the joint upper limit
      /// (replaces GetLowStop and GetHighStop)
      /// \param[in] _index Index of the axis.
      /// \return Upper limit of the axis.
      public: math::Angle GetLowerLimit(unsigned int _index) const;

      /// \brief:  get the joint lower limit
      /// (replacee GetLowStop and GetHighStop)
      /// \param[in] _index Index of the axis.
      /// \return Upper limit of the axis.
      public: math::Angle GetUpperLimit(unsigned int _index) const;

      /// \brief Set whether the joint should generate feedback.
      /// \param[in] _enable True to enable joint feedback.
      public: virtual void SetProvideFeedback(bool _enable);

      /// \brief Cache Joint Force Torque Values if necessary for physics engine
      public: virtual void CacheForceTorque() { }

      /// \brief Get damping coefficient of this joint
      /// \return viscous joint damping coefficient
      public: double GetDampingCoefficient() const;

      /// \brief Get initial Anchor Pose specified by model
      /// <joint><pose>...</pose></joint>
      /// \return Joint::anchorPose, initial joint anchor pose.
      public: math::Pose GetInitialAnchorPose();

      /// \brief Get the angle of an axis helper function.
      /// \param[in] _index Index of the axis.
      /// \return Angle of the axis.
      protected: virtual math::Angle GetAngleImpl(int _index) const = 0;

      /// \brief Helper function to load a joint.
      /// \param[in] _pose Pose of the anchor.
      private: void LoadImpl(const math::Pose &_pose);

      /// \brief Computes inertiaRatio for this joint during Joint::Init
      /// The inertia ratio for each joint between [1, +inf] gives a sense
      /// of how well this model will perform in iterative LCP methods.
      private: void ComputeInertiaRatio();

      /// \brief The first link this joint connects to
      protected: LinkPtr childLink;

      /// \brief The second link this joint connects to
      protected: LinkPtr parentLink;

      /// \brief Pointer to the parent model.
      protected: ModelPtr model;

      /// \brief Anchor pose.  This is the xyz offset of the joint frame from
      /// child frame specified in the parent link frame
      protected: math::Vector3 anchorPos;

      /// \brief Anchor pose specified in SDF <joint><pose> tag.
      /// AnchorPose is the transform from child link frame to joint frame
      /// specified in the child link frame.
      /// AnchorPos is more relevant in normal usage, but sometimes,
      /// we do need this (e.g. GetForceTorque and joint visualization).
      protected: math::Pose anchorPose;

      /// \brief Anchor link.
      protected: LinkPtr anchorLink;

      /// \brief joint dampingCoefficient
      protected: double dampingCoefficient;

      /// \brief apply damping for adding viscous damping forces on updates
      protected: gazebo::event::ConnectionPtr applyDamping;

      /// \brief Store Joint effort limit as specified in SDF
      protected: double effortLimit[MAX_JOINT_AXIS];

      /// \brief Store Joint velocity limit as specified in SDF
      protected: double velocityLimit[MAX_JOINT_AXIS];

      /// \brief Store Joint inertia ratio.  This is a measure of how well
      /// this model behaves using interative LCP solvers.
      protected: double inertiaRatio[MAX_JOINT_AXIS];

      /// \brief Store Joint position lower limit as specified in SDF
      protected: math::Angle lowerLimit[MAX_JOINT_AXIS];

      /// \brief Store Joint position upper limit as specified in SDF
      protected: math::Angle upperLimit[MAX_JOINT_AXIS];

      /// \brief Cache Joint force torque values in case physics engine
      /// clears them at the end of update step.
      protected: JointWrench wrench;

      /// \brief option to use CFM damping
      protected: bool useCFMDamping;

      /// \brief An SDF pointer that allows us to only read the joint.sdf
      /// file once, which in turns limits disk reads.
      private: static sdf::ElementPtr sdfJoint;

      /// \brief Provide Feedback data for contact forces
      protected: bool provideFeedback;

      /// \brief Names of all the sensors attached to the link.
      private: std::vector<std::string> sensors;

      /// \brief Joint update event.
      private: event::EventT<void ()> jointUpdate;

      /// \brief Angle used when the joint is parent of a static model.
      private: math::Angle staticAngle;

      // Added in 2.1 down here to preserve ABI
      /// \brief Set the effort limit on a joint axis.
      /// \param[in] _index Index of the axis to set.
      /// \param[in] _effort Effort limit for the axis.
      public: virtual void SetEffortLimit(unsigned int _index, double _effort);
    };
    /// \}
  }
}
#endif

redpajama_set_name: RedPajamaGithub


Loretta Lynch won approval from a key Senate committee Thursday to serve as the nation's next attorney general, as divided Republicans clashed over her support for President Barack Obama's immigration policies.
The 12 to 8 vote in the Judiciary Committee sent Lynch's nomination to the full Senate. Three Republicans joined all committee Democrats in voting "yes."
"The case against her nomination, as far as I can tell, essentially ignores her professional career and focuses solely on about six hours that she spent before this committee," said Sen. Orrin Hatch, R-Utah, as he criticized fellow Republicans for using Lynch's testimony in support of Obama's executive actions on immigration as a reason to oppose her nomination.
Timing is uncertain, but Lynch is all but assured approval by the full Senate as well, under new rules that will require only a majority vote instead of the 60-vote margin required for most legislation.
But she appears unlikely to win confirmation resoundingly, as Thursday's debate demonstrated that many Republicans will oppose her over Obama's executive actions granting work permits and deportation stays for millions of immigrants in the United States illegally.
Lynch, 55, now serves as U.S. attorney for the Eastern District of New York. She would replace Eric Holder and become the first black woman to hold the nation's top law enforcement job.


Is it just us or does this practice defy the very nature of such a song? When was the last time that you attended or watched an event in which EVERYONE stood up and sang the Star Spangled Banner together? Isn't that the point of such a thing as a national anthem? Isn't its purpose to have us all rise and express collective pride in our country; to, for that one moment, loudly proclaim that despite our diversities of language, cultures, and ideas that we are one people as Americans (or, at least, hope that we can live as one people)? Does that one moment not in some way make us feel more united as part of a greater whole? Do we not, as a group, experience what patriotism truly is; the pride in the power of the collective soul of a nations citizens?
What does it say about us, as a culture and as a country, that we are perfectly willing to let someone else take our hope for and pride in our nation and bury it beneath their vocal gymnastics?
We don't claim to have any answers. We're entertainers not a social scientists or philosophers. We're just asking out loud the questions that occur to us every time someone like Ms. Aguilera sings that song.


text:
Xbox One Getting Dolby Vision, Eyes Crown For King of Living Room Media
Microsoft is ready to add Dolby Vision, the biggest competitor in the HDR war, solidifying its claim as the most important piece of technology in the modern day living room. We've been talking for a while now about the importance of video games from all aspects - the industry, the software, and now the hardware is here to prove it.
With the addition of Dolby Vision, the Xbox One X joins Apple TV 4K and Google's Chromecast Ultra on the short list of products that sports both Dolby Vision and Dolby Atmos. Currently, Microsoft will unroll the support to a small group of test Xbox One X's, and the list of capable streaming apps is seemingly as short. Netflix is likely to be the first to be Dolby Vision capable, but it's not clear if Blu-ray will get the same support.
In terms of popularity, Dolby Vision has been catching a lot of popularity. The inertia behind Dolby Vision and getting its hands on as many products as possible doesn't hurt as well. And historically, the first to court certain gaming consoles could decide the fate of a medium as a whole. Do you remember the HD DVD? No? That's because Sony adopted Blu-ray and it soon became the standard living room piece across millions of living rooms. Microsoft will be a little more forgiving in this war as it will support HDR10 as well - only making the Xbox that much more future proof.
Sony Opts Out of E3 Despite Upcoming PS5 Launch
Westinghouse Expands Roku TV Line to Canada, Mexico, Debuts New Monitor Lines
Gaming, Curved Monitors Gain Share in 2019
From Project Scarlett to Xbox Series X, Microsoft Unveils Latest Console


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text:
Giants S Landon Collins Hasn't Discussed Extension
November 8th, 2018 at 8:01pm CST by Dallas Robinson
The Giants have yet to engage in extension negotiations with pending free agent safety Landon Collins, as he explained to Ryan Dunleavy of NJ.com. Collins admitted to Ralph Vacchiano of SNY that he's not sure the Giants even want to re-sign him after he was dangled in trade talks last week.
"It surprised the hell out of me," Collins said of being mentioned in trade rumors. "It was a big eye-opener. If they're rebuilding, they can rebuild without me. And I'm so young still, but they could still try to find younger and put the money elsewhere, into whatever they need to put it into to rebuild their team."
New York dealt both defensive tackle Damon Harrison and cornerback Eli Apple prior to last week's trade deadline, but ultimately held onto Collins despite reported interest from multiple clubs. The Giants were looking for a second-round pick in exchange for the 24-year-old defensive back, and while the Chiefs, Packers, and 49ers all inquired on Collins' availability, none were apparently willing to meet Big Blue's asking price.
Although they haven't talked about a new contract for Collins, the Giants still seemingly have every intention on keeping him in their 2019 plans. Adam Schefter of ESPN.com reported earlier this week that New York will deploy the franchise tag on Collins next spring if it fails to ink him to a long-term agreement. Collins, who will almost surely aim to top Eric Berry's $13MM annual average (the highest among safeties) in 2019, could be retained via the franchise tag at a one-year cost of ~$12MM, but he won't be pleased if New York does opt to use that tender, as he told Vacchiano.
"Honestly I don't want it," Collins said of the tag. "I know what type of player I am. I'm going to bring forth hard-work, talent, play-making abilities to the game each and every week. Why would I want to play under a one-year deal? If something happens I'm not guaranteed. And even though I'm guaranteed that for a year, I'm still not guaranteed."
If the Giants reverse course and don't use the franchise tag on Collins (and don't come together on an extension), he'd be entering a free agent market that includes a stellar crop of available safeties. The safety market, of course, was incredibly stagnant this past offseason, and Collins would be hitting free agent alongside options such as Earl Thomas, Ha Ha Clinton-Dix, Lamarcus Joyner, Adrian Amos, and the group of safeties that were forced to ink one-year deals in 2018 (Tre Boston, Eric Reid, Kenny Vaccaro, George Iloka, and Tyrann Mathieu).
Collins, a second-round pick in the 2015 draft, has been a full-time starter for the Giants since entering the league. A two-time Pro Bowler, Collins has 62 tackles, four passes defensed, and a forced fumble this season while grading as the NFL's 13th-best safety, per Pro Football Focus.
Photo courtesy of USA Today Sports Images.
Follow @PFRumors
Landon Collins
2 comments on "Giants S Landon Collins Hasn't Discussed Extension"
lettersandnumbersonly • 2 years ago
i wanted him to extend, but now it looks like the waters have been poisoned. being a Giants fan is getting harder and harder.
crosseyedlemon • 2 years ago
The label on that poison reads "Eli Manning". Giants have to somehow induce him to retire and get that contract off the books. This is why they have to dangle good young talent like Collins. I don't see any other tag options for the Giants if it gets to that point.


text:
Edward Holmead Harte (December 5, 1922 – May 18, 2011) was an American newspaper executive, journalist, philanthropist, and conservationist. The son of Houston Harte, co-founder of the Harte-Hanks newspaper conglomerate, he had a decades long relationship with that organization. For Harte-Hanks he was an executive and journalist with various newspapers, including The Snyder Daily News, The San Angelo Standard-Times, and The Corpus Christi Caller-Times. He also served as vice chairman of Harte-Hanks from 1962 to 1987. As a philanthropist he donated tens of millions of dollars to a variety of charities and institutions. He was also a pioneer in environmental conservationism in Texas, notably spearheading successful land conservation campaigns on Padre Island and Mustang Island. In 2002 the National Audubon Society (NAS) awarded him the Audubon Medal.

Early life and education
Born in Pilot Grove, Missouri, Edward H. Harte came from a newspaper family. His great grandfather was a Washington correspondent for the New York Tribune and his father, Houston Harte, co-founded the Harte-Hanks newspaper conglomerate. He grew up in Depression-era San Angelo, Texas where his father was publisher of The San Angelo Standard-Times.

During World War II Harte served in the United States Army. After the war he entered Dartmouth College from which he earned a bachelor's degree. After graduating, he became a reporter for The Claremont Eagle in New Hampshire. He left that position to become a reporter for The Kansas City Star.  He then partnered with his brother, Houston H. Harte, and Bernard Hanks's son-in-law, Stormy Shelton, in buying the weekly Snyder, Texas newspaper The Snyder Daily News. That publication became part of the Harte-Hanks newspaper chain.

Work for Harte-Hanks
Harte worked for the Harte-Hanks corporation in a variety of capacities throughout his career. As a teenager he had his first job working as a switchboard operator at The San Angelo Standard-Times, one of the many newspapers owned by the Harte-Hanks corporation. He later served as president of The San Angelo Standard-Times from 1952 to 1956. From 1962 until his retirement in 1987 he was vice chairman of Harte-Hanks and publisher of The Corpus Christi Caller-Times. In addition to serving as The Caller-Times''' publisher he also wrote a longstanding Sunday column for the paper that covered Mexican politics and current events. His column was known for providing coverage in this area which was not available elsewhere in the mainstream press. He continued to write thate column even after his retirement as publisher in 1987.

Conservationist and philanthropist
While running The Caller-Times, Harte further developed a passion for nature which ultimately led to his becoming an activist for environmental conservation. He regularly visited the Aransas National Wildlife Refuge where he met and befriended several members of the board of the NAS. In 1964 he joined the NAS board himself on which he served for a total of 13 years. He was notably President of the NAS board from 1974 to 1979. Under his leadership The Caller-Times became an important advocate for land preservation and environmental protection in what The New York Times'' described as "an unusual stance for a Texas newspaper at the time". In 1962 Harte successfully spearheaded a campaign to designate  of Padre Island as a national seashore; a feat which resulted in the protection of the longest stretch of undeveloped barrier island in the world. In the early 1970s he led another successful campaign to designate 3,954-acres of Mustang Island as a state park. In 1985 he and his brother donated their 66,000-acre ranch bordering the Big Bend National Park to The Nature Conservancy, which in turn donated the land to the Big Bend National Park in 1989.

In addition to his work as a conservationist, Harte was also a philanthropist. He donated a known 70 million dollars to local Corpus Christi organizations and institutions like universities, colleges, research labs, and environmental groups. It is likely that his philanthropy extended considerably beyond this amount as he often gave anonymous donations to charities and organizations for decades. Some of contributions included a 3.5 million dollar donation towards a new performing arts center at Texas A&M University–Corpus Christi (TAMU-CC), $1.8 million for a library in Flour Bluff, and a $1 million challenge grant to Corpus Christi Metro Ministries which helped save two homeless shelters from closing. In 2000 he established the Harte Research Institute for Gulf of Mexico Studies at TAMU–CC, with a $46 million endowment. The Institute has since played a major role in helping cleanup of the Deepwater Horizon oil spill.

Personal life
In 1947 Harte married Janet Frey with whom he had two sons, Christopher and William Harte, and 2 daughters, Elizabeth Owens and Julia Widdowson. His 52-year marriage ended upon his wife's death in 1999. He died 12 years later in 2011 at his retirement home in Scarborough, Maine at the age of 88.

References

1922 births
2011 deaths
People from Cooper County, Missouri
People from San Angelo, Texas
American male journalists
American newspaper executives
20th-century American newspaper publishers (people)
Harte family (United States)
Dartmouth College alumni
United States Army personnel of World War II

redpajama_set_name: RedPajamaWikipedia


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As summer approaches and more people consider installing air-conditioning in their vessels, I thought it might be time to re-post this write-up from our old blog that didn't get migrated to the new site. The unit has indeed been a great investment and worked flawlessly for the past year.
It took four weekends, but Gimme Shelter now has marine heat and air-conditioning.
We went with a Flagship Marine 12000 BTU unit as we liked both the fact that the units are made in the USA and they use a modular off-the-shelf construction, so should anything go wrong, it's easy to find parts. We ordered both the unit and the deluxe installation kit, so it came with the appropriate through-hulls, ducting, hoses, vents, pump and strainer.
We weren't completely thrilled to be giving up the closet, but getting rid of the space heater and the roll-around air-conditioner that were taking up space in the cabin made it a worthwhile tradeoff. It was also the easiest place to duct. We simply had to run one duct through the bulkhead into the main cabin and one out through the bottom of the closet and back up into the bukhead of the v-berth.
We installed the programmable thermostat in the nav station.
Of course, to run the air-conditioner we had to install a new 20 amp breaker. Unfortunately the O'day panel only had three breakers: outlets, charger, and water heater.
We took a trip to West Marine only to find out breaker panels are REALLY expensive. We decided go browse through the Kemah Boaters Resale Shop. Jackpot!
Yes, we had to install it sideways. And yes, we still had to spend $65 to replace two of the breakers, which ended up different colors. However, the panel was only $8.99, and we didn't have to cut up the bulkhead.
It turned out to be a good thing we pulled the old panel out. The cable going to the outlets was in really bad shape.
The plastic casing of the 30 amp breaker on the panel also shattered when I attempted to unscrew the shore power leads. I guess it's good to inspect your electric lines every 32 years.
After three weekends of drilling holes, running cables, and re-wiring breakers, we came to the one thing we couldn't do ourselves — drilling the through-hull.
We fired up Gimme Shelter and puttered around the corner to South Texas Yacht Services to have them drill a hole in the bottom of our boat.
I had one friend who swore to me that we could drill a hole in the water as long as we had a bunch of rags to shove in the hole while we fished the through-hull through the bottom with a string. I decided it was worth it to pay for a haul out.
Quick hauls generally last one hour, but when they install a through hull they want to give it a little time for the sealant to cure, so you basically get charged for two quick hauls. All in all, our "extended quick haul," pressure wash, zinc change and through-hull installation cost us $650. It added a lot to the cost of our air-conditioner installation, but not sinking at the dock was worth it.
We were back in our slip with the professionally installed through-hull and a clean bottom by 10:30 a.m., so I went to work installing the strainer and pump.
The heavy duty blue silicone hose was a nightmare to get onto the flanges. I finally boiled a pot of water and stuck the ends of the hoses in the water for about 15 minutes to get them flexible enough to install. They are so tight, I'm pretty sure the clamps aren't even necessary.
The pump had plastic flanges and was much easier to install.
I opened the through-hull, kicked the thermostat over to "Cool", and checked our water flow.
No more lifting window units on and off the deck and leaving them on the dock. No more crappy roll-around units dumping condensation all over the floor and having to be lashed up against the wall when we go sailing, No more space heaters in the walkway causing us to worry about starting a fire.
Will it be worth the investment? I sure hope so, but I guess we'll find out this summer. YES, It was totally worth the investment!
Fabulous info and great blog you shared here.


text:
Curt Petrovich is a Canadian journalist.  He has worked for the Canadian Broadcasting Corporation since 1986.

Petrovich is currently based in Vancouver, British Columbia.  He has also worked for the CBC in Iqaluit, Winnipeg and Ottawa.

In 1999, Petrovich was awarded the Michener Award by Governor-General Adrienne Clarkson for his coverage of a vote-splitting scandal in the 1995 Manitoba provincial election.  Following interviews with Darryl Sutherland, Petrovich discovered that organizers of the Progressive Conservative Party had funded Independent Native Voice candidates to split the left-of-centre vote with the New Democratic Party in three constituencies.

He made the following comment about CBC management in 2005, following the Corporation's lockout of its workers:

"Why isn't someone trying to take back the controls from a bunch of box cutter-wielding ideologues who are ready to smash this organization into the pillars of public trust that took decades to build?"

In 2008, Petrovich's stories on the sale of MacDonald Dettwiler were named the best in radio reporting in British Columbia at the Jack Webster Awards.

In 2009, Petrovich was presented the Canadian Association of Journalists award for faith and spirituality along with fellow CBC journalists including Frank Koller and Vik Adhopia for their work on CBC Radio's Where is God Today?. In the same year, Petrovich was awarded another Jack Webster Award for Best Feature Story in radio for his feature on the Canadian Men's Eight Rowing Team.

In 2019, Petrovich authored "Blamed and Broken: The Mounties and the Death of Robert Dziekanski," an investigation into the aftermath of the Tasering of Robert Dziekanski at Vancouver's International Airport in 2007.

References

External links
 CBC profile

Blamed and Broken:The Mounties and the death of Robert Dziekanski

Canadian television reporters and correspondents
Year of birth missing (living people)
Living people
Canadian radio reporters and correspondents
Jack Webster award recipients


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