Target their resumes precisely to the positions they seek by matching their qualifications with the job requirements (instead, they prepare a "laundry list" of their employment background); A one-size-fits-all resume will no longer cut it in this competitive employment market. It used to be the case where you could put one generic resume together and send the same version off for various opportunities. Go ahead and do that if you would like to increase your chances of getting overlooked. The rules have evolved with the employment market.
What am I held accountable for?
How is my performance measured, and what metrics or benchmarks am I responsible for achieving?
Did I achieve those goals? If so, by what percentage or number?
How has my contribution to, or ability to carry out my duties exceptionally well benefited my department and the company?
Did I develop and implement any initiatives that became best practices?
Don't underestimate your value or short-change yourself when building your resume. Even if your role is to file paperwork all day long, or enter information into a database, if you do your work well, you play an important part in keeping your boss, or the company organized, on task, and running efficiently.
4. Invite the reader in to want to read the resume rather than glance at it for 6 seconds and toss is aside; (based on format, design, content, and readability). Does your resume still include an "Objective Statement"? If so, remove it. Objective statements have become obsolete. Employers want to know what you have to offer, not what it is you are seeking. It is all about WIFT (What's In It For Them? not "Me") The length of your resume should be determined by how well your experience and accomplishments align with the objectives noted in the job description. Shorter resumes that include the most relevant information based on the objectives of the positions, while retaining achievements and topical areas of expertise tend to have a better chance of landing in the "Yes" pile. Your resume should have sufficient white space so that your information is digestible, and so that your high impact statements show accomplishments at a glance.
These and other areas are critical to demonstrating to prospective employers how suitable a candidate you are for their business. The rules have changed and so must your strategy.
To see if your current resume can compete in today's employment market, and to help guide you to build or revise your resume with a competitive edge, you may download my free Resume Score Sheet at http://www.careercoachsally.com, and access other tips, tools and free resources to help turn your resume into an interview magnet.


There is power in sharing our story. This listener learned from our podcast that she is not alone. You may be learning that from her story today. Be an Anthony or a Neil – listen if someone needs to talk. The human need to be heard is a deep one. We thank this listener from the bottom of our hearts for sharing with us today. What an honor to be trusted. And thank you all for being part of this safe space where we can share her words. Be well.
© 2019 Giving Voice to Depression - All Rights Reserved.


If you're planning a trip into Central Otago, give serious thought to arriving in the small town of Roxburgh on a Thursday. That's when the local wool craft group gathers at the Tally-Ho wool shop to knit, spin, weave, and chat. It's also where you'll find Allen Gray, head bent over his rug-making frame as he stitches and hooks his unique creations with locally carded Romney wool.
A previous environmental-horticulturalist landscaper, Allen designs the rugs himself, and sees a great deal of similarity between this skill and that of landscaping a flat, rectangular urban section.
Although Allen sometimes employs dyes in his rug making, his first love is the natural combination of simple brown and white fleece.
Allen's interest in rug making has a slightly unusual beginning in that it developed out of a need to find a use for the kilos of wool he found himself spinning.
The last one to call himself a mathematician (he insists he's come last in any maths class he's ever been in), the task of designing rugs was originally a tedious job of laying the pattern out on graph paper before working from it with meticulous stitching. Just one mistake could destroy the desired balance and harmony. As an example, Allen points to a large floor rug, the pattern on which closely resembles a drawing of a gothic cathedral's floor plan). But those days of complex patterning are now over and Allen prefers to draw patterns, free-hand, directly onto the canvas.
These ideas are worked out on the canvas through a combination of stitching (using a bodkin – a blunt-ended needle with a very large eye) and hooking (using a rug hook). It's the interaction of the two methods which brings texture to the surface of the rug.
Up until now, Allen's rugs have all been floor size. From hall runners that are almost 3m long and close to a metre wide, to floor rugs that measure around 1.2 x 1.8m and weigh 7kg, they adorn his Central Otago home and act as serious providers of warmth in a cottage that is too low to the ground to allow for any other form of floor insulation. But large rugs are not practical where sales are concerned.
In whatever direction Allen moves, his enjoyment of his art-come-craft remains the same.
Well settled in Roxburgh, a town he has always regarded as 'home', Allen shows no signs of giving up on what is an almost life-long craft.
Canvasses aren't always readily available. Allen buys his from Spotlight or Threads Needlecraft, Centre City Mall, 133 Great King Street, Dunedin, (03) 4774514 but orders in advance and buys plenty when it is available.
When working on a rug, Allen uses a rug-making frame which was gifted to him by the Roxburgh wool crafting group. While it's possible to make a rug 'on your knee', this become more difficult as the rug grows in size and becomes heavier.
Allen favours Romney wool for its strong, coarse staple. He has it carded by Tally Ho Wool Carding which takes orders from all over the country.
If you're interested in designing your own rugs, Allen recommends developing an interest in rugs from around the world. He has seen, first-hand, rugs and rug-making in Turkey, Iran, Pakistan and India.
Begin at the beginning by learning to spin.
When starting out on rug-making, Allen recommends working larger, not smaller, so begin with a moderate sized floor rug, not a miniature piece.
Join a wool craft group – you'll learn a lot about the raw materials you'll be working with.
Allan Gray at work on a rug at Thursdays wool crafters meet-up. Allan Gray at work on a rug at Thursdays wool crafters meet-up.
Enjoying company at the wool craft's Thursday meet-up. Enjoying company at the wool craft's Thursday meet-up.
Allen at work with the bodkin. Allen at work with the bodkin.


When it comes to fighting for social justice in Windsor and Essex County, our roots run deep. With the Underground Railroad, giant Emancipation Day celebrations, strong auto unions and the first teacher strike in Canada, it's no surprise that the High School Human Rights Forum started here in Windsor, Ontario in 1977. Originally organized by the Third World Resource Centre, Teacher's Human Rights committee, Windsor Board of Education, Windsor Catholic School Board and the University of Windsor, the forum was officially hosted by Teachers for Global Awareness when it incorporated as a not-for-profit in 1990.
The Human Rights Forum was a formative experience for me. There is no question that the energy I felt during those forums inspired me to become a life-long activist. It was time to take the torch and reignite in students a passion for social justice and activism similar to what was kindled in me so many years ago.
In 2006, I approached my colleague at Walkerville Collegiate, Deanna Fougère, who was also very involved in social justice work, to see if she would be interested in partnering with me to get the High School Social Justice Forum reinstated. We became the co-chairs of Teachers for Global Awareness and have had a variety of teachers and community activists come on board to bring the forum to the caliber it is today. In 2007, in partnership with the Centre for Studies in Social Justice at the University of Windsor, we hosted our first Annual High School Social Justice Forum with the theme of Media and haven't looked back since.
The current Teachers for Global Awareness group has organized an Annual High School Social Justice Forum for the past eight years. Although similar in spirit, this group has formed partnerships with the Centre for Studies in Social Justice and the Faculty of Education at the University of Windsor, invites more students (300+), more schools (over 20) and more school boards (3) to participate in a day-long event than was done in the past. The forum features a keynote speaker, challenging morning and afternoon workshops, panel discussions and a final wrap-up activity that promotes student activism.
The Annual Social Justice Forum encourages students and educators to engage in healthy, respectful dialogue, develop critical thinking skills, and learn about social justice issues concerning their local communities and abroad. When students and educators engage in social justice discussions it provides the foundation for healthy school communities.
We have had the privilege of welcoming renowned keynote speakers such as Maude Barlow (Council of Canadians), the Hon. Howard Pawley (Former Premier of Manitoba), and Danielle McLaughlin (Canadian Civil Liberties Association). Topics for workshops include: environmental issues, racism, homophobia, ableism, poverty, international issues and mental health. We are always looking for new themes and workshop topics, please share your ideas with us.
Along with the annual forum, Teachers for Global Awareness has recently begun sponsoring student-led social justice projects for school communities (TGA grants) that were inspired by the annual forum. We are very interested in empowering students and inspiring in them a spirit of lifelong activism in their respective communities. Students for Global Awareness groups, Gay-Straight Alliances and Environmental groups have formed as result of this event.
For educators, we are looking to expand on our social justice forums and create opportunities to discuss and learn about topical social justice issues. Last year we had our first educator forum entitled, Kill the Bill: Why Repealing Bill 115 is Important for all Ontarians. We are currently working on creating workshops for educators that will help foster social justice dialogues and acceptance in their classrooms. Please feel free to send us suggestions on what issues are important to you.


text:
Q: Condition in Strong Form of Urysohn Lemma superfluous? I am doing exercise 33.5 of Munkres:

Exercise 33.6: Theorem (Strong form of Urysohn Lemma). Let $X$ be a normal space. There is a continuous function $f : X \to [0,1]$ such that $f(x) = 0$ for all  $x\in A$ , and $f(x) = 1$ for all $x \in B$, and $0 < f(x) < 1$ otherwise iff $A$ and $B$ are disjoint closed $G_\delta$ sets in $X$.

Now the existence of such a function immediately gives that $A$ and $B$ are closed $G_\delta$ sets since $$A = f^{-1}\left( \bigcap_{n\geq 1} B_{\frac{1}{n}}(0)\right)$$
and similarly for $B$. Now for the other direction, I have also proved it but  only using the fact that one of $A$ or $B$ is $G_\delta$. How did I do this? Well by exercise 4 of the same section there is $f : X \to [0,1]$ such that $f(x) = 0$ for all $x \in A$ and $f(x) > 0$ for all $x \notin A$ since $A$ is $G_\delta$. By the Urysohn Lemma, there is $g(x) : X\to [0,1]$ such that $g|_B = 0$ and $g|_A = 1$. Then
$$h(x) = \frac{g(x)}{f(x) + g(x)}$$
is the required function.

My question is: For this direction of the problem, is it a superfluous condition that we need both $A$ and $B$ to be $G_\delta$?

Thanks.

A: No, though for many common spaces it is a superfluous condition.
A subset $A$ of a topological space is called a zero-set if there is a continuous function $f : X \to \mathbb{R}$ such that $A = f^{-1} [ \{ 0 \} ]$.  From Urysohn's Lemma one can almost immediately conclude that in a normal space the zero-sets are exactly the closed G$_\delta$ sets.

Added: Note that in the statement of the Strong Form of Urysohn's Lemma we require $f : X \to [ 0 , 1 ]$ to be continuous, $A = f^{-1} [ \{ 0 \} ]$ and $B = f^{-1} [ \{ 1 \} ]$.  This means that both $A$ and $B$ must be zero-sets, and so by the statement above they must be closed G$_\delta$.

There is a class of spaces strictly smaller than the normal spaces called perfectly normal, defined by being normal and having all closed sets G$_\delta$.  In these spaces the G$_\delta$ condition is clearly superfluous, and many of the most common normal spaces are actually perfectly normal: the real line (in fact all metric spaces), and the Sorgenfrey line, for example.
As an example of a normal not perfectly normal space, consider the one-point compactification of an uncountable discrete space: $\alpha X = X \cup \{ \infty \}$ where $X$ is uncountable, and topologised so that all points of $X$ are isolated, and the open neighbourhoods of $\infty$ are of the form $\{ \infty \} \cup A$ where $A$ is a co-finite subset of $X$.
A basic fact about this space is that given any continuous function $f : \alpha X \to \mathbb{R}$, the set $$\{ x \in X : f(x) \neq f ( \infty ) \}$$ is countable.  It follows that the closed set $\{ \infty \}$ is not a zero-set.

Added: In particular, given any finite (nonempty) $F \subseteq X$ there is no continuous function $f : \alpha X \to [ 0 , 1 ]$ such that $f^{-1} [ \{ 0 \} ] = \{ \infty \}$ and $f^{-1} [ \{ 1 \} ] = F$.

redpajama_set_name: RedPajamaStackExchange


text:
Courting Freida Pinto
Updated Apr. 25, 2017 3:58PM ET / Published Mar. 13, 2009 2:53AM ET
Vittorio Zunino Celotto / Getty Images
Star in a movie that wins eight Oscars, and apparently people will notice you. Slumdog Millionare actress Freida Pinto has been invited to a screen test to be the next Bond girl, The Sun reports. According to an unnamed source, Bond executives noticed Pinto when they were casting The Quantum of Solace, but she was too young to be Bond's love interest. Chanel also invited Pinto to Paris fashion week.
Read it at The Sun

redpajama_set_name: RedPajamaCommonCrawl


While Alaska Specialty Woods is well known for supplying the finest Sitka Spruce instrument tonewood for guitar tops, did you know the company also offers Drop Shot Calls for hunters? In Alaska, when hunters want to find and attract Sitka blacktail deer, they often order doe Bleat sound calls from Alaska Specialty Woods. Made from old growth materials, these handmade Drop Shot Calls are crafted with excellent workmanship and designed to work well for deer hunters.
Deer calling has been around for centuries, but in recent times research has been done that has really helped fine tune deer calls. Back in the 1980s, a man named Larry Richardson wrote his Master's thesis on the topic of "Acoustics of White-Tailed Deer." Basically, he studied different aural communications made by whitetails, explaining what each one meant. This report helped draw attention to deer calling in a significant way, such that hunters actively embraced the use of deer calls for their hunts.
Since the 1980s, more research has been done in order to better understand how calling fits into the overall hunting experience. Did you know, for instance, that you can use certain calls to create curiosity, excitement or anger to attract deer to you?
It turns out that deer make specific sounds at certain times. They may grunt, bleat, whine, snort or stomp their feet to communicate with one another. These noises can signify aggression or simply be used to indicate to others nearby, "Hey, I'm here." Interestingly, deer don't call that often, so rookie hunters often make the mistake of calling too loud and too often.
Did you know deer have great hearing? They can tell if calls are fake! They're smart animals. That said, hunters can and do utilize Drop Shot Calls from Alaska Specialty Woods in order to call deer to them.


WINSTON-SALEM, N.C. – A major shutdown will impact drivers in Winston Salem starting Saturday at 6 a.m.
Emergency management is asking that drivers finalize their routes and prepare for their Monday morning commute as early as possible.
August Vernon is the emergency management director in Forsyth County. He said Friday that 25 agencies will set up a command center starting Monday morning to monitor detours and traffic.
"Also, we will be able to respond very quickly if an incident happens, you may see a larger response than normal, just so we can try to get the roads open as soon as possible," he said.
Vernon added that they will keep the command center open through Tuesday afternoon.
Winston Salem/Forsyth County Schools Operations Manager Wayne Loflin said that school buses changed their routes before the school year began to adjust for the closure.
Loflin said that they will also have staff members in the command center beginning Monday morning to potentially re-route buses for traffic.
"They will give real time feedback based on what they're hearing from the city and other agencies, PD and law enforcement and so forth. So, we can route buses appropriately if we were to have a wreck or a 20 to 30-minute backup we can try and route those folks around it," he said.
The Business 40 closure covers a 1.2-mile section between Peters Creek Parkway and U.S. 52. When it closes, all traffic will be diverted to Interstate 40, Peters Creek Parkway and U.S. 52.


text:
GE Uses Back to the Future DeLorean in a Commercial to Talk About Turbine-Generated Power
We've seen GE effectively use a NASA rover and KITT from Knight Rider to discuss jet engines and locomotives. These commercials are part of the brand's Brilliant Machines advertising campaign launched in 2012. The company is again using 1980's nostalgia to promote their turbine hardware and software with imagery from the Back to the Future movies. The new spot is called "The Future is Now" and features a flying DeLorean and the voice of actor Michael J. Fox.
GE is developing a narrative around science and science fiction that bridges the gap between their audience and their products. GE is using iconic vehicles like the Knight Rider 1982 Pontiac Trans Am, NASA Mars Exploration Rover, and Back to the Future DeLorean to tell a simple tale about complex problem solving.
I wonder what such a narrative might look like coming from NASA or SpaceX. NASA scientists have previously worked with Disney on space exploration edutainment campaigns and movies about Mars. I also see seeds of a scifi/science campaign in the comparisons of Elon Musk and Tony Stark. Mr. Musk seems to relish such comparisons and doesn't hide the fact that he's been influenced by Iron Man.
Examining what makes these campaigns effective improves my work. I'm starting to understand the true value of my comic book collection and how I may leverage it toward communication design. Are you doing similar? If GE can use KITT and a flying DeLorean to sell multi-million dollar hardware, I know we can be using our games, toys, and comics toward science and technology education.
adsBTTFcommercials
What is the David Bowie Song in the Kia Cadenza "Reunion" Commercial?
If you've seen the Kia Candenza "Reunion" ad you've heard the excellent custom "Let's Dance" InFiction String Remix. If you haven't heard it, here's an auditory treat worth listening to:
Mars Rover Curiosity Hot Wheels Toy
Curiosity is a car-sized rover that recently landed on Mars thanks to NASA. In celebration of such a cool machine, Mattel is now producing a Mars Rover Curiosity Hot Wheels toy.
Medieval Warfare in Low Gravity is Hilarious
rinoramp on YouTube educates us on the physics of the Dark Ages with a video game capture from Chivalry: Medieval Warfare.
Games in Space
Some of you who grew up in the 90s, as we at UPT did, may remember the Wing Commander computer games. Fighting against the feline-esque Kilrathi you were aboard a…
Interview with Daniel Thron – Director of Spoiler, a zombie short film
We recently had a chance to talk with director and visual effects pro Daniel Thron about his short film Spoiler. The movie shows a unique perspective on what might happen…
Put the Mask on NOW!
I grew up during the 1980's and distinctly remember being horrified by a movie shown on local DC television. The film received high press coverage in the weeks before broadcast, it was in 3D and required the purchase of anaglyph red/blue glasses.


How do I get in contact with AFA?
What are AFA's office hours?
Can I visit AFA's facilities?
Does AFA attend toy conventions?
Does AFA have a newsletter that I can sign up for?
Why are the packages delivered to a holding facility and not the AFA facilities?
What are the benefits of selling a graded figure?
Do people really tamper with or counterfeit action figures?
Do you grade foreign figures?
Do you grade other toys?
Do you grade loose figures?
Do you grade figures in mail away boxes?
Do you grade packaged toys that are not sealed?
Do you grade 12" and 15" dolls?
Is the AFA Case UV-Resistant?
Why is the AFA case sealed everywhere except the back?
Do price stickers lower the grade of an item?
What does it cost to get my figures graded?
How do I safely ship my figures?
Can I drop figures off directly at AFA's facilities?
What guarantees and rights do I have as an AFA customer?
Can AFA determine the value of my figures?
Will AFA send me an email when you receive my submission?
What if my figures gets damaged on its way to AFA?
How fast will I get my graded figures back?
How will I know when my graded figures have shipped back to me?
Can I use AFA as a Third Party Reference in an eBay or PayPal dispute to verify the condition of an item that was purchased?
AFA's hours are Monday - Friday 9am - 5pm eastern standard time.
No, for security purposes AFA's location is kept secret and no customers may visit the facility.
Yes, AFA attends many conventions each year and often offers convention specials or on-site grading. Visit our events page frequently for updates or sign up for our newsletter.
Yes, AFA does have a free email newsletter. Your information is secure and you can unsubscribe at any time. When you sign up you also receive an account for the AFA site that will allow you to have access to the figure records. Click here to register.
You gain the confidence that what you are buying has been properly graded by a professional. You can have the peace of mind that a graded figure is tamper free and know what you are getting. With AFA there are no surprises!
Graded figures will normally sell for much higher prices than un-graded figures. You will be able to sell graded figures faster and easier through the mail and internet.
Yes! A lot of the expensive figures today have factory paint variations. A professional counterfeiter can easily remove, repaint and reseal a figure without you knowing. With the advancement of computer technology, they can even produce reproduction pieces and similar counterfeit items. To the average collector it is impossible to identify these fakes.
The cost of grading depends heavily on the items fair market value, the turnaround time selected, as well as the method of grading selected (loose, boxed, and carded). Please visit the Pricing Tiers page for information on determining what tier best fits your needs.
At this time we do grade Canadian figures and Tri-logo Star Wars. We may be able to grade certain foreign figures but please contact us.
AFA does grade most prototypes and first shots, but they must go through our GAS (grading and authentication) tiers.
We grade almost all action figures. Most standard-size figures fall under our Modern and Vintage Categories depending on whether they were produced before or after 1990. Other non-standard-size figures fall under our Custom Categories.
Currently we grade virtually all packaged toys and select loose action figures. We also grade diecast vehicles under our division Diecast Grader and collectible dolls under our division Doll Grader.
We grade loose figures from select toy lines. Please click here to view information on grading loose action figures. In addition, if you have loose figures that are in factory sealed baggies, we can grade them in or out of the baggie. If we remove a figure from a heat-sealed baggie to grade and case then it will be given the "Uncirculated" designation. However, if we remove a figure from a tape-sealed baggie to grade and case then it will NOT be given the "Uncirculated" designation. For figures graded in the baggie, the baggie condition is taken into account for the grade.
Yes, we do. We remove the figures from the mailer boxes and if the box is still factory sealed the figure would receive an "Uncirculated" designation. For the figure to have "Mail Away" on the grade label, you would have to have it graded and cased with the mailer box. You could have items of this type graded under our Custom Tier.
AFA will grade certain items which never came factory sealed, provided the items are in new and unused condition. AFA can also grade boxed items that are no longer factory sealed (i.e. the tape has been broken or come loose) as long as the boxed item has an interior sealed bubble and all the contents (paperwork) are stilled sealed in their bags.
AFA will grade 12" and 15" dolls, both loose and packaged. The category you should submit under depends on whether the doll is loose or packaged, when it was produced, and what toy line it is from.
Standard AFA cases are slightly UV-resistant. They will also protect your items by sealing them in hard acrylic to keep them in the same condition as when they were graded. They will not be touched by human hands and the hard acrylic prevents it from sustaining any additional creases, bubble dings, or other damage.
In addition, 99% UV-Resistant acrylic cases are available for extra light protection. You can pay a fee to upgrade your case to the 99% UV Resistant acrylic or you can submit your items under the archival tier, which includes UV-resistant acrylic. For more information on UV-Resistant cases, click here.
Because we can rarely verify authenticity, an autograph is considered a flaw and the grade is usually limited to a 70. For those who collect AFA figures and feel that the grade of 70 will somehow devalue the figure, we can case the figure without including the grade; the same rates will apply. The only exceptions to this rule are convention exclusives or items submitted to us directly by the manufacturer. In these cases autographs can be verified as authentic, and items will be marked as 'signed' in the variation field of the AFA label. When an item meets this criteria, an autograph will generally be overlooked when determining the grade.
Price stickers are generally not considered major flaws, but only become a factor if curling, tearing, staining, picking, etc. of the sticker has occurred. The location of the sticker is also a factor, though most are placed in an area such as a corner that does not detract from the overall appearance of the card. Basically, the condition of the sticker factors into the card subgrade, and from there into the overall grade of the piece.
No. To insure security and confidentiality AFA's facilities are restricted.
Our Archival Tier has a turnaround time (received at AFA until shipped from AFA) of 7-10 days. Our Premium Tier has a turnaround time of 14-20 days.
We do not offer volume discounts. We offer discounts through our membership program.
Yes. You just need to divide your figures into groups by turnaround time and list them on the Submission List pages of the Submission Form. You can make additional copies of these pages if you have many different groups to submit. Please be aware that you will have to pay shipping costs for each shipment that is returned to you. Click here to download the submission form.
No. We are only issuing an opinion on the condition of your figure. The actual market will determine the value of your figure. We recommend visiting eBay to research the market value of your figures.
***If payment is made by check and it is found that your account has insufficient funds, a fee of $25 will be added to your overall total and you will be required to pay the remaining amount via Credit Card, Money Order or Cashier's Check only.
No, you will receive a confirmation email when you submission is processed.
You will only be contacted if the box that you send your items in appears damaged upon its arrival at AFA. If it is determined that an item was damaged during its shipping to AFA, you will be notified via email to discuss what your options are regarding the possibly damaged item.
Figures rarely get damaged on their way to AFA, especially if you package your submission with caution using correct materials. For more information on our suggested packaging techniques, click here.
In order to have any packages that are being retained by Customs/Brokerage Companies released, our company must agree to pay a fee that is specified by the company that is withholding the package(s). This fee will be passed on to you, our customers in addition to a $35 fee from AFA. This fee will be charged in full once your submission is received in our offices.
AFA has no affiliation with the US Customs department and cannot control when package(s) are released.
No. You may only check the status of your submission by using the AFA invoice number and/or your First and Last name.
Yes, AFA offers condition verification as a third party source to assist buyers in eBay and Paypal disputes.
The item will be reviewed by the Graders with all flaws and/or reasons for refusals noted. This information will be provided on AFA letter head and signed by the proper authorities. Once this is complete, the letter and item will then be shipped back to you.


Heralded by the San Francisco Chronicle for her "knockout combination of vocal power and expressive eloquence", soprano Marina Harris is quickly establishing herself as one of opera's most promising dramatic voices. A recent alumna of the prestigious Adler Fellowship program at the San Francisco Opera, Ms. Harris' appearances with the company included three world premiere operas; Nolan Gasser's The Secret Garden (in the role of Susan Sowerby), Mark Adamo's The Gosepel of Mary Magdalene (Tamar/Girl/Seeker), Tobias Picker's Dolores Claiborne (Maid), Jack Perla's Love/Hate (Samantha), and covering the role of Elsa in Lohengrin. In September 2013, Ms. Harris garnered national attention as a last-minute replacement for Patricia Racette in the role of Elena (Helen of Troy) in San Francisco Opera's season-opening production of Boito's Mefistofele.
Ms. Harris has also joined the roster of the Los Angeles Opera to cover the verismo roles of Nedda in Pagliacci and the title role in Madama Butterfly. She has made leading role debuts with Opera Idaho (Tatiana in Eugene Onegin), Pacific Opera Project (title role in Ariadne auf Naxos) and the Southern Illinois Music Festival (Mathilde in Guillaume Tell). Her international credits include the Festival der jugend Stimmen in Switzerland and as a guest performer with the Sichuan Conservatory of Music in Chengdu, China. This season includes four role debuts; as Mimì in La bohème with Opera Bend, Donna Anna in Don Giovanni with the Southern Illinois Music Festival, and as Mrs. Gobineau/the Mother in a double bill of Menotti's The Medium and The Monkey's Paw, a world premiere opera written by Brooke deRosa with Pacific Opera Project.
From the baroque period to contemporary, Ms. Harris has been featured as a soprano soloist in a diverse range of repertoire, including Mahler's Symphony No. 2 (Resurrection), Brahms' Ein Deutsches Requiem, Mendelssohn's Symphony No. 2 (Lobgesang), Mozart's Great Mass in C Minor, and J.S. Bach's Mass in B Minor. She has also given the West Coast premieres of Charles Stanford's Stabat Mater and Cecelia MacDowall's Magnificat. Marina has performed as a guest soloist with the Marin Symphony, the Sacramento Choral Society and Orchestra, the California Symphony, and the San Francisco Chamber Orchestra, among others. 2017 sees a return to Sacramento for Rossini's Stabat Mater, as well as a debut with the Eureka Symphony in Beethoven's Symphony No. 9.
Ms. Harris is a passionate advocate of art song repertoire, and has appeared in recital as part of Carnegie Hall's Neighborhood Concert Series, with the Brava! Opera Theater, as part of The Song Continues with Marilyn Horne and the Weill Institute of Music, and with San Francisco Performances. She appeared in the McGraw-Hill Financial Young Artist Showcase on WQRX, New York's leading classical radio station, along with baritone Norman Garrett and Ken Noda of the Metropolitan Opera, as well as legendary radio host Bob Sherman.
In 2015, Ms. Harris was awarded the Dorothea-Glatt-Förderpreis in the triennial International Wagnerstimmen Competition, securing her place as one of the top three singers of Wagnerian repertoire worldwide. Marina has won numerous other awards, including the 2015 George London Vienna Prize and the George London-Leonie Rysanek Award in 2014. She has won prizes in the Gerda Lissner Foundation's Vocal Competition in both 2015 and 2017, and has been the First Place winner in the Brava! Opera James M. Collier Young Artist Vocal Competition, the David L. Scott Memorial Vocal Competition, and the Long Beach Mozart Festival Vocal Competition. Ms. Harris has received additional grants from the Wagner Society of Northern California, the Palm Springs Opera Guild Vocal Competition and the Loren L. Zachary International Vocal Competition.
Ms. Harris currently resides in New York City.


text:
import datetime
from django.shortcuts import _get_queryset

def get_object_or_none(klass, *args, **kwargs):
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    except:
        return None

def get_list_or_none(klass, *args, **kwargs):
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    obj_list = list(queryset.filter(*args, **kwargs))
    if not obj_list:
        return None
    return obj_list

def generate_code(klass):
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    if items < 10:
        out = '000{0}'.format(items)
    elif 10 >= items < 100:
        out = '00{0}'.format(items)
    elif 100 >= items < 1000:
        out = '0{0}'.format(items)
    elif items >= 1000:
        out = '{0}'.format(items)
    data = out
    object_ = get_object_or_none(klass, codigo=data)
    if object_ is None:
        return data
    else:
        generate_code(klass)

redpajama_set_name: RedPajamaGithub


Move-out inspections go much better if both the tenant and the landlord have the same expectations.
This way, a tenant completes the necessary maintenance and cleaning, and returns the rental property in top shape.
The landlord avoids having to scramble to do the work before the next tenant moves in, and doesn't have to fight with the tenant over who should pay.
Clean in, out, behind and under the fridge and defrost and clean the freezer.
Leave the fridge door open if the power has been turned off.
Clean in, out, behind and under the stove and clean the oven and burners on the stove.
Wash the cupboards inside and outside.
Clean inside and outside (except multi-level buildings) of all windows/tracks, closet doors/tracks and patio doors/tracks.
Dust curtain rods and window coverings or replace yours with the landlords.
Dust or wash fans and vents, light fixtures, replace burnt out light bulbs.
Check the smoke detector, replace batteries as needed.
Clean bathroom thoroughly including the tub, tile, sink, vanity, mirror, medicine cabinet, cupboards and toilet.
Vacuum and clean the carpets.
Of course, there may be items that you need to add for your particular property, but this gives you a starting point. It is most helpful if you format this document as a checklist. Be sure to give this list to your tenants when they move in, and avoid misunderstandings down the road.


text:
Ivercy - Blog
News and Blog about Ivercy and related topics
Ivercy - Main Site
Ivercy beta version 1.0.15 released
Februar 26. 2016 0 Comments
Ivercy
COM-Add-In
Source Code Control
After quite a long time we released a new beta version of Ivercy this week.
This is the first beta for the upcoming new 1.1 release. From now on we will not work on new features until the release of version 1.1. Instead we focus on fixing bugs now. And there is still is some work to do in that regard. In other words: We are feature complete for the next release.
What was planned
Today I would like to compare the features we planned back in October to what is actually in the current beta.
Back then, we declared three major objectives.
Optimize status management and reduce the number of queries to the SCC backend.
Move automatic status updates to a non-blocking background thread.
Reduce the number of "false positive" change detections.
Optionally exclude Data&Misc-Objects from source code control.
So let's look at these one by one, and see what we've got.
What we've got
I'll look at the sub items of primary objective first.
Optimize status management and reduce the number of queries to the SCC backend
We improved our internal state management, use Access' Date Modified property (unfortunately it's not reliable), cache our checksum calculation and remove every query to the SCC-Backend that was not absolutely necessary. - This all significantly improved performance of Refresh Status and most notable Get Latest.
Move automatic status updates to a non-blocking background thread
Oh boy. This played a major part in wrecking our original schedule. In theory implementing multithreading based on the .Net Framework should not be too difficult. - Reality was quite different.
Multithreading in a COM-Add-In is somewhat different than in normal .Net-WinForms-Applications. You'll need to manage some of the COM references yourself, otherwise the host (Access) might crash on shutdown. Thread synchronization with the UI-Thread does not work reliably in the way you would expect. – And even thought we tried to work around that, I suspect there still is a problem in version 1.0.15 with that, as I observed some weird application freeze situations since its release.
An even more serious issue exists however with Microsoft's TFS-MSSCCI-Provider. It reacts quite hostile, by un-initializing itself, if ever invoked by more than one thread from the same process. I don't think we can solve this problem without some fundamental changes to Ivercy's design.
As any further work on this would have delayed the new version even more, I decided to disable any multithreaded use of the SCC-Backend. For now we only do the local preparation work for Status Update in the background. That slightly improves the situation, by reducing the time the Access UI is blocked.
So back to the top objective…
We certainly achieved a lot in that regard. Considering execution time, there is not much left we could have improved further. Still the intrusive, blocking automatic status updates remain. – For now. But the improvements we have got already are so useful, I did not want to withhold them from you any longer.
Reduce the number of "false positive" change detections
Those false positive change detections result from modifications Access makes to the sources automatically. So we added two new features to deal with those. The first one are the SourceProcessingSettings, which allow you to configure lines and blocks of code to remove from the source files and thus ignoring any automatic changes to them.
Second we made it possible to ignore case of the text in the source files. You can configure that with the IgnoreCaseModifications option.
By using these two new options, you can reduce false positives to almost none (see the article above for the limitations). So I think we fully delivered on this objective.
So remaining is the third objective.
Optionally exclude Data&Misc-Objects from source code control
So the answer to this is simple. It's not implemented at all. We total dropped that from our list for now. In last months we received lots of support emails and feature requests about the first and second objective, but none about this one. So the decision was easy to defer this item to a later release. This makes the other two available sooner, as they provide value to more of our customers; to you.
Check out the beta
Ok that's it for now. If you are curious check out the most recent beta from the download page (scroll down, the betas are below the regular releases). Version 1.0.15 seems to have an issue with freezing Access on occasion though. I will send out a newsletter as soon as we've got a more stable release.
About Ivercy
Ivercy is an Add-In for seamless source code control integration into Microsoft Access 2010, 2013 and 2016 with most MSSCCI compatible source code control systems. Learn more on the Ivercy product site.
I am Philipp Stiefel, former Microsoft MVP for Microsoft Access. I have more than 15 years consulting experience with Microsoft Access, Microsft SQL Server, VB.net, MySQL and other technologies.
Ivercy (24)
Source Code Control (16)
Microsoft Access (10)
MSSCCI (5)
Team Foundation Server (2)
AEK (4)
COM-Add-In (2)
entAscc (5)
COM-Interop (1)
Sign in © 2015 - Ivercy - Philipp Stiefel


text:
<?php

declare(strict_types=1);

namespace ZfrOAuth2\Server\Container;

use Psr\Container\ContainerInterface;
use ZfrOAuth2\Server\ResourceServer;
use ZfrOAuth2\Server\Service\AccessTokenService;

/**
 * @licence MIT
 */
class ResourceServerFactory
{
    public function __invoke(ContainerInterface $container): ResourceServer
    {
        /** @var AccessTokenService $tokenService */
        $tokenService = $container->get(AccessTokenService::class);

        return new ResourceServer($tokenService);
    }
}


text:
<?php
    $paginationSize = 10;

    // Prepare our offset values for use
    if(isset($_GET['start'])) {
        // Guard against SQL injection by enforcing that $_GET['start'] is a number
        settype($_GET['start'], 'integer');
        $nextStart = $_GET['start'] + $paginationSize;
        $previousStart = $_GET['start'] - $paginationSize;
        if ($previousStart < 0) {
            $previousStart = 0;
        }
    }

    try {
        $db_con = connectDBi();
    } catch (Exception $e) {
        if ($e->getMessage() == "100") {
            $error = mysql_error();
            die("Error connecting to the database");
        } else if ($e->getMessage() == "101") {
            $error = mysql_error();
            die("Error selecting the database");
        }
    }
    // Guard against injection by enforcing that the orgId is a number
    settype($_GET['jobId'], "integer");
    $dbStr = "SELECT * FROM `Job` WHERE `ID` = " . $_GET['jobId'];
    $result = $db_con->query($dbStr);
    if ($result->num_rows == 0) {
?>

    Error: No job found for specified ID.

<?php
    } else {
        $row = $result->fetch_assoc();
        if (!headers_sent()) {
            header("Last-Modified: " . $row['LastModified']);
        }
        $status = 1; // Default to in progress
        if ($row['Progress'] == 100) {
            // Complete, lets check for good/bad
            if (strpos($row['Status'], 'Failed') !== false) {
                $status = 2;
            } else if (strpos($row['Status'], 'Complete') !== false) {
                $status = 3;
            }
        }
?>

<div class="panel <?php echo ($status == 1 ? 'panel-info' : ($status == 2 ? 'panel-danger' : 'panel-success')); ?>">

            <?php echo $row['Type']; ?>

        <?php echo $row['Status']; ?>

    <div class="progress <?php echo $row['Progress'] < 100 ? 'progress-striped active' : ''; ?>">
        <div class="progress-bar <?php echo ($status == 1 ? 'progress-bar-info' : ($status == 2 ? 'progress-bar-danger' : 'progress-bar-success')); ?>"  role="progressbar" aria-valuenow="<?php echo $row['Progress']; ?>" aria-valuemin="0" aria-valuemax="100" style="width: <?php echo $row['Progress']; ?>%">

                            <?php echo $row['Progress']; ?>% Complete

<div class="panel <?php echo ($status == 1 ? 'panel-info' : ($status == 2 ? 'panel-danger' : 'panel-success')); ?>">

Job Log

        <colgroup>
            <col span="1" style="width: 30%;">
            <col span="1" style="width: 70%;">
        </colgroup>

            Time
            Log

<?php
        if (!isset($_GET['start'])) {
            $_GET['start'] = 0;
        }
        $dbStr = "SELECT * FROM `JobLog` WHERE `JobID` = " . $_GET['jobId'] . " ORDER BY `Time` DESC LIMIT " . ($paginationSize + 1) . ' OFFSET ' . $_GET['start'];
        $result = $db_con->query($dbStr);
        $numRows = $result->num_rows;
        $count = 0;
        while ($log = $result->fetch_assoc()) {
            if ($count < $paginationSize) {
?>

            <?php echo $log['Time']; ?>
            <?php echo $log['Value']; ?>

<?php
            }
            $count++;
        }
?>

    <li class="previous<?php echo (isset($_GET['start']) && $_GET['start'] > 0 ? '' : ' disabled');?>"><a href="<?php echo (isset($previousStart) ? 'job.html?jobId=' . $_GET['jobId'] . '&start=' . $previousStart : '#');?>">← Newer

    <li class="next <?php echo $numRows < ($paginationSize) + 1 ? ' disabled' : '';?>"><a href="<?php echo ($numRows == ($paginationSize + 1) ? 'job.html?jobId=' . $_GET['jobId'] . '&start=' . (isset($nextStart) ? $nextStart : $paginationSize) : '#');?>">Older →

<?php
    }
?>


We have for sale this Glow Plug Wiring Loom from a 2012 BMW 520D F10/F11. The Loom is free of damage and in good working order. This item has been removed from a engine with 41600 miles. Any queries please give us a call on 07805063572.


But when they start singing together in harmony, the result is out of this world! Their spin on this chart topping song is absolutely beautiful.
You have to hear it for yourself to experience it. It's incredible!
Most people don't know that Home Free was founded in 2000 by Chris Rupp as a way to for him sing his heart out with his close friends. From there, the group gained attention.
The biggest initial success they enjoyed was when they won the grand prize on The Sing-Off in 2013. It set their course for the rest of the musical career path.
The men took their $100,000 cash prize and Sony recording contract and immediately got to work. Within the past years, Home Free has released nine albums!
Frontman Tim Foust told the Fairbanks Daily News that, over the past year, their preferred form of communication with fans has been through the music videos, not the radio. He explained that this direct line to loyal fans means that they get the most authentic, unaltered work.
It shows their personalities, their style, their heart and soul as they pour everything into each song and performance. Watching them perform is as incredible of an experience as hearing them sing.
That's why this cover of John Mayer's "In The Blood" is so powerful! The men of Home Free come together in a simple country setting to share their impressive vocal range and calm demeanor.
Their voices mesh perfectly and the song truly comes to life. It's such an impressive rendition!
We can't wait to see what the future has in store for Home Free. From the looks of things, the sky's the limit!
Listen to their chilling version of "In The Blood" for yourself below.


text:
Republic of Latvia
Regulation No. 829
Adopted 23 December 2014
Special Requirements for the Performance of Polluting Activities in Animal Housing
Section 24.2, Paragraph two
of the Law On Pollution
I. General Provisions
1. This Regulation prescribes special requirements for the performance of polluting activities in animal housing.
2. Only the requirements of Sub-paragraph 4.4.1 of this Regulation shall be applied to an animal housing in which less than 10 animal units are located or, if the animal housing is located in a highly vulnerable zones - less than five animal units.
3. The following terms are used in this Regulation:
3.1. solid manure - manure with a mixture of litter and feedingstuff leftovers where the content of dry matter is more than 15 per cent;
3.2. semi-liquid manure - manure with a mixture of litter, feedingstuff leftovers or water where the content of dry matter is from 10 to 15 per cent;
3.3. liquid manure - manure with a mixture of water where the content of dry matter is from 2 to 10 per cent;
3.4. urine - liquid waste of livestock and liquid, which flows out from solid manure;
3.5. silage juice - liquid, which flows out from silage during preparation and storage thereof;
3.6. animal housing - any building or part thereof or environment or place delimited under open-air conditions, where livestock are hold permanently or temporarily, including the necessary auxiliary facilities and subsidiary structures;
3.7. deep cattle-shed - animal lodging where solid manure is accumulated right there in the cattle-shed for at least half-year;
3.8. manure storage facility - a structure for accumulation of livestock manure until their use for field fertilisation or other type of use;
3.9. lagoon-type manure storage facility - a type of manure storage facility characterised by a form of semi-embedded or embedded construction pit, the walls and base of which are covered with a waterproof material.
II. Requirements for Restriction and Control of Pollution
4. The following requirements shall be determined for the collection, drainage and storage of livestock manure:
4.1. collection and drainage systems in animal housing shall be built from a waterproof material, which is resistant to the effects of equipment used in animal housing;
4.2. the floor and walls of the storage facility shall be built from a waterproof material, which is resistant to the effects of the equipment used;
4.3. an appropriate system for the collection and drainage of liquid manure or urine to the relevant storage facilities shall be established in animal housing;
4.4. solid manure shall be stored:
4.4.1. by the animal housing until further use thereof, if less than 10 animal units are located at the animal housing or, if it is located in a highly vulnerable zone - less than five animal units. The floor of manure storage area shall be arranged in accordance with the requirements of Sub-paragraph 4.6.6 of this Regulation. urine shall be accumulated in a specially equipped container;
4.4.2. in a manure storage facility which is built of concrete, or on area covered with concrete, or in a specially arranged area with a liquid-proof base, if more than 10 animal units are located at the animal housing or, if it is located in a highly vulnerable zone - more than five animal units. urine shall be accumulated in a specially arranged storage facility (container);
4.4.3. in a deep cattle-shed. Livestock manure accumulated in a deep cattle-shed outside animal housing, if the content of dry matter of at least 45 per cent is ensured, shall be stored for not more than 24 months. A livestock manure storage area shall be arranged in accordance with the requirements of Sub-paragraphs 4.6.3., 4.6.4. and 4.6.5. of this Regulation and the base shall be built from waterproof material;
4.4.4. in exceptional cases outside the animal housing for not more than five months - from 1 May until 30 September - or if renovation or reconstruction of a manure storage facility is carried out. Temporary storage area shall be arranged in conformity with the requirements of Sub-paragraph 4.6. of this Regulation;
4.5. in order to store solid manure outside animal housing:
4.5.1. an operator shall submit an application to the regional environmental board of the State Environmental Service (hereinafter - board) in which the operator substantiates an exceptional case referred to in Sub-paragraph 4.4.4. of this Regulation. A cadastral designation of the land unit shall be indicated in the application and conformity of the place for storage of solid manure with the requirements of Sub-paragraph 4.6 of this Regulations shall be certified. A block map of the Rural Support Service (in scale 1:5000 or in scale 1:10 000, not older than five years), where intended place for solid manure storage is marked, shall be appended to the application. If the operator carried out renovation or reconstruction of the storage facility, the time for work performance shall be indicated in the application;
4.5.2. the board shall co-ordinate the place for solid manure storage outside the animal housing on the basis of the submitted documents. If, upon performance of an examination, the State environmental inspector detects non-conformity of the place for solid manure storage or type of storage with the requirements of Sub-paragraph 4.6. of this Regulation and the operator has not performed measures within a time period laid down by the board for the rectification of these non-conformities, the board shall cancel co-ordination of the place for solid manure storage. A duty of the operator is to remove livestock manure stored in a non-conforming place and to ensure management thereof in conformity with the requirements of this Regulation;
4.6. when arranging solid manure storage area outside animal housing, the following conditions shall be taken into account:
4.6.1. such content of dry matter (above 30 per cent) shall be ensured for livestock manure so that it could be arranged in a pile and urine would not seep therefrom;
4.6.2. the quantity of solid manure in a storage area shall conform to the amount of livestock manure to be worked into the relevant field in one year;
4.6.3. livestock manure storage area shall not be established in a place where the slope gradient is more than five degrees in order for relief not to facilitate formation of surface run-off and release;
4.6.4. livestock manure storage area shall not be established in wetlands and flooded territories;
4.6.5. livestock manure storage area shall be arranged not closer than 50 m from surface water bodies and from a well from which water for the household is being taken, or not closer than 30 m from the baulk of a collecting ditch and a structure of the amelioration system (from a well, surface run-off collector);
4.6.6. a base of livestock manure storage area shall be made of waterproof material or at least 30 centimetres thick absorbent material (straw, peat, chips) shall be arranged so that it could catch the liquid in manure and protect against run-off. The base of absorbing material shall be arranged in width of two metres around the perimeter of the livestock manure pile. The livestock manure shall be covered with protective layer of at least 2 centimetres thick absorbent material (straw, peat, chips) or waterproof material in order to limit exposure to atmospheric deposition, to prevent run-off and evaporation of volatile substances;
4.6.7. livestock manure storage area shall not be established at the same place, if at least three years have not passed.
5. The following requirements shall be specified for the manures storage facilities:
5.1. the volume of the storage facility for the storage of livestock manure and silage juice shall ensure the accumulation thereof for at least eight months. If the quantity of livestock manure exceeds the volume of the storage facility referred-to, the operator shall transfer the relevant quantity, which exceeds the volume of the storage facility, to another person;
5.2. urine from open and closed storage facilities of solid manure shall be collected in a separate storage facility, the capacity of which ensures accumulation there for at least eight months;
5.3. storage of silage juice in a urine or liquid manure storage facility shall be permissible if the amount of silage juice does not exceed five per cent from the amount of liquid manure. Discharge of silage juice in the environment shall not be permissible;
5.4. the capacity of manure storage facility and urine accumulation container shall be calculated in accordance with Annex to this Regulation;
5.5. the structures referred to in Sub-paragraphs 5.1. and 5.2. of this Regulation shall be built in conformity with the laws and regulation regarding construction;
5.6. livestock manure, including urine, shall be used in accordance with the regulatory enactments regarding the protection of water and soil from pollution with nitrates caused by agricultural activity.
6. The following requirements shall be determined for the storage of silage in a trench and piles, as well as use thereof:
6.1. the base of a silage trench shall be made of a waterproof material and resistant to the effects of silage and potential mechanical damage during filling in or emptying;
6.2. the base of a silage trench shall be made with a slope gradient towards the direction of unloading of silage. A cross-channel for drainage of silage juice into an accumulation tank shall be arranged in the lowest part of the trench in the slope gradient;
6.3. when storing silage in piles on a field, a film or absorbing material layer shall be spread under the pile. The spread film shall be connected with the film covering the pile or the pile shall be covered with absorbing material layer;
6.4. a silage pile shall be formed at sites where the terrain does not facilitate the formation of surface run-off and the run-off of silage juice. The silage pile shall be placed in accordance with the requirements laid down in the laws and regulations regarding environment protection in relation to protective zones of surface water objects, but not closer than 30 m from a river, brook, ditch, wells of amelioration systems or a well, from which water for the household is being taken;
6.5. if a silage pile is formed at the same place every year, the base of the pile shall be covered with concrete. The base for a field shall be formed with a slope gradient towards the part of the tank for collection of silage juice. A small ditch for the collection of silage juice or an edge with a height of 0.2-0.3 m shall be formed around the field of the silage pile;
6.6. silage juice shall not be spread on the field during the time period from 1 December to 1 March, as well as on the frozen, wet or snow covered soil.
7. The following requirements shall be determined for the storage of liquid manure, semi-liquid manure and urine:
7.1. the storage facilities of liquid manure, semi-liquid manure and urine shall be of closed type or shall have a permanent natural or artificial floating covering layer, which reduces evaporation. The floating covering layer shall continuously cover the surface of the storage facility. Where necessary, the natural covering layer shall be supplemented;
7.2. the filling system shall be established so that the floating covering layer would not be disturbed;
7.3. upon accumulating liquid manure in a lagoon-type manure storage facility:
7.3.1. the level of the base of the storage facility shall be at least 50 cm above the maximum groundwater level. If necessary, the groundwater level shall be lowered by building a drain in the base;
7.3.2 the base and walls of the storage facility shall be sealed with a special waterproof material, which is intended for the storage of liquid manure and the edges of which are fixed at the upper edge of the storage facility;
7.3.3. the storage facility shall be delimited with a fencing.
8. When designing a new animal housing, building of a manure storage facility or an equipment for further processing of manure shall be intended in the building design. When re-building an animal housing put into service, where necessary, it may be intended to build a new storage facility or re-build existing one for manure storage, or to build equipment for further processing of manure. The capacity of manure storage facility shall ensure storage of livestock manure for at least eight months.
9. In animal housing where solid manure is accumulated in a deep cattle-shed, and in a farm where meat livestock, sheep and animals of wild species intended for the acquisition of production are permanently hold under open air conditions in a delimited environment, a manure storage facility is not necessary.
III. Monitoring Performed by Operator
10. State environmental inspectors shall control the compliance with the requirements of this Regulation.
11. An operator shall indicate data in an inventory journal (on paper or in electronic form) referred to in Paragraph 12 of this Regulation. The inventory journal shall be presented for examination upon the request of the State environmental inspector. The operator shall keep the relevant information for at least three years.
12. The following shall be indicated in an inventory journal:
12.1. the date when the covering of the floating covering layer (if any) was supplemented;
12.2. the date when livestock manure, fermentation residues or silage juice was spread on a field;
12.3. the date when livestock manure, fermentation residues or silage juice was transferred to another natural person or legal person, indicating the amount and address of a natural or legal person;
12.4. the date when solid manure was placed in a storage place outside animal housing.
13. The operator who manages lagoon type storage facility where drills or drain system with monitoring well is arranged, the following requirements shall be complied with:
13.1. during exploitation of manure storage facility the measurements of groundwater quality shall be carried out at the observation (monitoring) sites once a year before emptying of the storage facility, and the results of analysis shall be submitted to the relevant board within a month after receipt thereof;
13.2. such parameters as total nitrogen (Nkop.) and certain nitrogen compounds (nitrates, nitrites and ammonium), as well as total phosphorus (Pkop.) shall be determined in groundwater. Water pH shall be determined during sample taking on site. Limit values laid down in the regulations regarding quality of surface and groundwater shall be taken into account in quality assessment of groundwater.
14. Groundwater quality observation (monitoring) system shall be arranged by a merchant to whom a licence of the State Environmental Service for the use of subsoil is issued.
15. Groundwater samples shall be taken and analysis shall be carried out by an accredited laboratory.
16. When designing a new lagoon type storage facility, it shall be intended to arrange a shallow groundwater quality observation (monitoring) system. In the direction of potential groundwater flow, but not further than 10 metres from a storage facility, at least one drill with a filter shall be arranged up to three metres deeper than the base of the storage facility. The drill may be replaced with a drain system which is arranged under the base of the storage facility so as it is possible to take water samples therefrom, as well as discharge of drain collector into some watercourse, ditch or water reservoir shall be ensured in conformity with the laws and regulations regarding building regulations regarding hydrotechnic and amelioration structures.
IV. Closing Provisions
17. If a manure storage facility or manure storage place fails to comply with the requirements of this Regulation, until 1 July 2015 the operator shall submit a plan of measures to the board in order to ensure the compliance of livestock manure storage with the requirements of this Regulation.
18. The board shall take a decision to accept the plan of improvements within one month after receipt of the plan of improvements referred to in Paragraph 17 of this Regulation and shall inform the operator thereof in writing. If the plan of improvements does not ensure the fulfilment of the requirements of this Regulation, the board shall take a decision to refuse to approve the plan.
19. Storage of solid manure is permissible next to the animal housing, by arranging the base of the livestock manure storage area in accordance with the requirements of Sub-paragraph 4.6.6. of this Regulation and by ensuring accumulation of urine in a specially equipped container, or outside animal housing for 10 months a year in accordance with the requirements of Sub-paragraph 4.6. of this Regulation:
19.1. until 31 December 2016 - in the animal housing where there are more than 15 animal units, but in highly vulnerable zones - more than 10 animal units;
19.2. until 31 December 2017 - in the animal housing where there are from 10 to 15 animal units, but in highly vulnerable zones - from 5 to 10 animal units.
20. If a manure storage facility or urine accumulation container has been built in the animal housing before coming into force of this Regulation, the capacity of solid manure storage facility shall ensure accumulation of manure for at least six months, but the capacity of liquid and semi-liquid manure, as well as urine storage facility - for at least seven months.
21. Cabinet Regulation No. 628 of 27 July 2004, Special Environmental Requirements for Performance of Polluting Activities in Animal Housing, (Latvijas Vēstnesis, 2004, No. 120., 159; 2007, No. 72; 2008, No. 167; 2011, No. 75) is repealed.
Informative Reference to European Union Directive
This Regulation contains legal norms arising from Council Directive 91/676/EEC of 12 December 1991 concerning the protection of waters against pollution caused by nitrates from agricultural sources.
Prime Minister Laimdota Straujuma
Minister for Agriculture Jānis Dūklavs
Cabinet Regulation No. 829
Calculation of Capacity of Manure Storage Facilities
1. The methodology is intended for the calculation of capacity of solid manure, semi-liquid manure, liquid manure and urine storage facilities.
2. The amount of solid manure and (or) liquid manure during one year shall be calculated in conformity with the norms included in Table "Amount of Acquisition of Livestock Manure and Composition Thereof" of Annex 2 to the Regulation Regarding Protection of Water and Soil from Pollution with Nitrates Caused by Agricultural Activity by using the following formula:
, where
Mg - the amount of livestock manure obtained in a housing, t/per year;
mk - the amount of livestock manure from one animal, t/per year;
zdz - the number of animals in one group;
n - the number of animal groups.
Note. If animals, for example cows, are let go to pasture or regular walks, the amount of livestock manure is less during one year accordingly.
3. The amount of livestock manure, which actually is accumulated during one year, shall be calculated by using the following formula:
Mf - actually accumulated amount of livestock manure, t/per year;
Mtr - the amount of livestock manure which is stored at other place or is delivered for storage from other housings, t/per year. If such transportation of livestock manure is not carried out, then Mtr = 0.
Note. Taking into account that it is possible to transfer livestock manure acquired in the animal housing to other operator or purchase from other operator, the amount of livestock manure, which is to be accumulated at the storage facility of the relevant animal housing during one year, may differ from the amount of livestock manure which is acquired at the relevant animal housing during one year.
4. The capacity of storage facility, when acquiring solid manure, shall be calculated by using the following formula:
Vc - necessary capacity of the storage facility, m3;
kr - reserve coefficient, kr = 1.2-1.3;
Tgl.k - normative duration of livestock manure accumulation. For solid manure Tgl.k is 8 months;
ςc - volume mass of solid manure. For fresh solid manure ςc is from 0.65 to 0.75 t/m3, but after storage of 2-6 months - 0.7-0.8 t/m3.
5. The amount of urine to be accumulated which is flowing out of solid manure and is supplemented with sewage and silage juice (if it is lead into the storage facility):
Vv - the amount of urine to be accumulated, m3;
Tgl.v - normative accumulation duration of urine, Tgl.v = 8 months;
λv - a part of urine amount, by calculating from the mass of the acquired livestock manure; λv = 0.25-0.50;
ςv - the volume mass of urine, t/m3; ςv = 1.0-1.05 t/m3;
Vp - the amount of additional water which may flow into urine or liquid manure, m3. It forms from the water used for cleaning of premises, drinking water and silage juice splashed out by animals (it is allowed to input up to 5 % of the total amount of urine or liquid manure).
q - water entered into livestock manure, including into urine, m3/animals per year (Table 1);
n - the number of animal groups;
Vs - the amount of silage juice, which is entered into urine or liquid manure, m3 (Table 2).
Amount of water used for cleaning of premises and drinking water, which enters into livestock manure and urine m3/animals per year
No. Animal group Amount of water
1. Cows, not tied (acquire urine) 4.3
2. Cows, tied (acquire solid manure) 2.7
3. Heifers 0.5
4. Bulls 0.45
5. Sows in farrow 0.15
6. Sows with piglets 0.55
7. Separated piglets 0.05
8. Pigs for fattening 0.12
Silage juice discharge, m3, by counting per one ton of mass of preservation
No. Type of grass plant mass to be preserved Dry matter content, % Juice discharge, m3/t
1. Freshly cut grass 17 0.175
2. Dried grass 25 0.035
3. Corn 15 0.28
6. The capacity of storage facility for liquid and semi-liquid manure shall be calculated by suing the following formula:
Vš - necessary capacity of liquid and semi-liquid manure storage facility, m3;
Tgl.š - normative accumulation duration of manure; Tgl.š = 8 months;
ςk - manure volume mass. Semi-liquid manure - 0.85-0.95 t/m3, liquid livestock manure - 1.01-102 t/m3, pig manure - 1.05-1.07 t/m3.
Translation © 2015 Valsts valodas centrs (State Language Centre)
in force Issuer: Cabinet of Ministers Type: regulation Document number: 829Adoption: 23.12.2014.Entry into force: 07.01.2015.Publication: Latvijas Vēstnesis, 2, 06.01.2015. OP number: 2015/2.8
Changes legal status of
Annotation / draft legal act


text:
AI & SocietyGenerative ModelingTransformerArtsGamingConversationThe SquireAI Dungeon 2GPT-2CTRL
AI is contributing to paintings, music, and now a whimsical fantasy video.
What's new: The Squire is an amateur romp through a snowy realm of knights in armor and damsels in distress. The script was composed by AI Dungeon 2, an interactive text-adventure game based on the GPT-2 language model.
How it works: Filmmakers Josh Johr and Dominick Todero began like any other AI Dungeon 2 player: By choosing a character (squire, mage, and so on) and setting (forest, dungeon). The program generated an internal context statement and fed it to the text engine, which responded: "You are Jake, a squire living in the kingdom of Larion…" It asked them periodically for input and generated text to advance the story. When the program declared, "GAME OVER!," they set about planning the production.
Unlike earlier text-adventure games, AI Dungeon 2 has no rules for how players can respond to prompts and no pre-programmed outcomes — everything is generated on the fly. The game's creator, Nick Walton, fine-tuned the 1.5 billion-parameter version of GPT-2 on 30 megabytes of text scraped from an online choose-your-own-adventure forum.
The game is prone to unexpected and occasionally nonsensical twists, such as when roadside bandits hand their sword to the befuddled Squire simply because he asks them to. But it anchors each session in its setting and narrative by feeding GPT-2 the previous 10 prompts, along with the original context statement, each time the player enters a new prompt, Walton told Towards Data Science.
Inspired by the model CTRL, he imposed a penalty whenever the system reused previously generated words. That keeps the text generator from repeating itself, which can be a problem with the latest language models.
We're thinking: In the early days of generated music, some listeners enjoyed the jarring notes that computers often came up with. We're still in the early days of generated narrative, but the results, for all their screwball turns, can be delightful.


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text:
Screening Room Members
118 community members found
Luka Yang
www.lukayangworks.com
Isaac McKeever
Teo Fabi
Film and Digital Media Production Student at Loyola Chicago
Ora DeKornfeld
Cinematographer, Director
Ora DeKornfeld is an Emmy-nominated video journalist and filmmaker based in Arizona. She's a former journalist at the New York Times, who now seeks to shed light on the human condition through cinematic documentary storytelling.
After graduating from the University of North Carolina at Chapel Hill, she went on to create work for the Los Angeles Times, the New Yorker, CNN's Courageous, Great Big Story and TED. Ora's independent work has received multiple awards from Picture of the Year International, including first place for Feature Multimedia as well as the White House News Photographers Association and South by Southwest Film Festival. In 2015, she was named on PDN's 20 Emerging Artists to Watch in Film and Video. Her work has been showcased on National Geographic, The Atlantic, The Webby Awards, and the New Orleans Film Festival, among others.
Immigration, Documentaries
Dan Eason
SKATEBOARDER, VINYL-HOARDER, VIRGO, TECHNO, FILMMAKER, URBAN DWELLER, LOCATION MANAGER… NOT NECESSARILY IN THAT ORDER, BUT IN A NUTSHELL.
Location Managing, Producing, Editing
Heidi Burkey
Story Producer, Writer And Producer, Documentary Director
Heidi Burkey is a documentary director committed to capturing unique and compelling stories that draw audiences beyond life's closed doors. Her work has been distributed on Netflix, Amazon, Google Play, iTunes, Fusion TV, and DirectTV.
In 2015, Heidi's debut feature documentary, Jedi Junior High, was distributed on Digital HD and On Demand by Mar Vista Entertainment and is currently available for streaming on Netflix. Recently, she directed The Fan Chronicles, a debut original series from Crunchyroll, one of the largest distributors of anime. Heidi directed a six-part documentary series for Tastemade called, The Pitch, which aired on AT&T's The Audience Network in February, 2018.
During her tenure as a Producer for Fusion's Digital Documentary team, she produced a 30 minute Primetime Special that aired on Fusion TV and five documentary short films that collectively garnered over 400K views on Fusion's YouTube channel and over 4.5M views on Fusion's Facebook page.
Heidi began her documentary career working for the nonprofit, DTJ, where she produced, directed and edited over 45 international documentary shorts advocating for social change on behalf of children.
Heidi is a member of Film Fatales, Women in Moving Pictures, The Video Consortium, and the International Documentary Association.
Short Documentaries, Feature Documentary, Documentary Film, Female Empowerment, Environment
Story Structure, Documentary Writing, Directing
Kaitlin McMurry
Tv Film Editor, Video Producer, Cinematographer, Director
Entering her final year in Loyola University Chicago's Master of Communication program, Kaitlin is pursuing a degree in Digital Media and Storytelling. Previously a news producer and reporter in Florida, Kaitlin is a documentary filmmaker who aims to produce meaningful and impactful stories about environmental and social justice issues. She is passionate about the environment, loves to be outdoors, and is always looking to tell important and compelling stories that inspire change. She most recently directed, filmed, and edited "Ashes to Ashes," a short documentary about the impact of coal ash in Alabama, which was selected for the national Wild & Scenic Film Festival 2019.
Storytelling, Cinematographer, Editing
Rebecca Berman
Writing, Acting, Director
Actor, Writer, Director, Producer, mainly of the comedy type
I have a BA in Writing and Producing for television from Columbia College Chicago
I studied Meisner Technique in NYC for 2 years after high school, I then went on to Chicago where I got back to my first love, comedy. I became very involved with the improv and sketch scene which led me to go back to college where I studied TV writing and from there I developed and wrote my own TV pilots as well as spec scripts.
Currently I'm learning more about the technical side of production such as video lighting, editing and sound so I can make my own projects look more professional, as sometime bad sound ect can take a viewer out of an otherwise funny idea or script.
Fun fact: I'm also a trained makeup artist and aesthetician (bikini wax anyone?)
I'm on that hustle like everyone else!
Pitbull Advocate, Laughing, Editing, Sketch, Improvisation, Romanic Comedies, Television
Makeup Artistry, Acting, Screenwriting
Anastasia Washington
Writer Director, Screenwriter / Producer/ Director, Actress
Anastasia Washington is an actress, writer, producer, director, curvy positive model, and I'm sure there's some other things she does. You can listen in to her awesome podcasts Legion of Leia, Nerd Up or Shut Up, Its Probably Aliens, Geek Girl Social Club, Nerds in Lala Land on iTunes and more! With over 30 years in the biz as an actor, performer, comedian, singer, she brings the honesty and laughs. You can follow her on twitter at @AnastasiaW on instagram at @Anastasiawash and on her hilarious Youtube Channel Anastationtv! Or head on over to www.anastasiawashington.com for all things Anastasia.
Science Fiction, Dramas, Diverse Films, Dark Comedy, Horror, Comedy, Drama
Irene Zoe Alameda
Spanish film director, fiction writer, screenwriter, music composer, producer and actress who lives in the US. Director of La cinta de Alex (Alex's Strip), Uniformadas (Uniformed), Jaisalmer, Buen viaje (Have a Nice Trip), Tarde de homenaje (A Tribute's Evening), Migraciones de Gloria Gervitz and Reber's Backstage. She has directed all the music videos of Reber and dozens of commercials.
Founder of Storylines Projects (Multimedia Production Company). Director of the Spansk Film festival, Stockholm (Sweden).
She holds a Masters degree and a PhD from Columbia University (New York).
Documentary Film, Narrative Drama, Action Films, Comedy
Production, Screenwriting/Drafting/Pre Production, Directing
Pailin Wedel
Cinematographer, Director, Producer
Pailin Wedel (director) Pailin is a Thai-American journalist and filmmaker. She is the founder of 2050 Productions. Hope Frozen, Pailin's first feature documentary, won The Whickers pitch competition at Sheffield Doc/Fest in 2017 as well as pitch prizes at TokyoDoc, Asian Side of the Doc and a spot in Crossing Borders, EDN's documentary development program.
Pailin regularly produces documentary programs for Al Jazeera English, namely for its current events program: 101 East. Aside from her television work, Pailin also films pieces for The New York Times, National Geographic and Monocle. She was formerly the Asia Interactive producer for the Associated Press. Her work centers on themes of faith, trauma, and adaptation to modernity.
She began her career in 2004 as a photojournalist shooting stills for an American newspaper but quickly fell in love with video narratives and taught herself how to shoot video. In her spare time, Pailin teaches short courses on video and mobile journalism and contributes to the acclaimed Instagram feed @everydayasia.
Cinematographer, Directing
Jennifer Boyd
Documentary Director, Writing, Producer
Jennifer Boyd is a multiple EMMY Award winning producer, director, writer and owner of Boyd Productions, LLC. She has produced more than 25 documentaries and 40 music entertainment shows. Good Morning America just called her most recent documentary, 3 Seconds Behind the Wheel, "groundbreaking."
Jennifer's work can be found on American Public Television, PBS International and Amazon Prime Video. Her projects have been written up in Forbes, RollingStone, Playbill, USA Today, The New York Times, Billboard Magazine and more.
Samples can be found at https://boydproductions.net/
Ugo Laurenti
Film Music composer, sound designer and film editor.
Jamie Sutherland
Take carrot bribes
Alex Heller
Animator, Writer, Director
Specialties: Comedy, teenagers figuring out sex, adults who live with their parents.
Other causes: Bullying prevention, mental illness awareness, queer narratives.
Upcoming work: BAYBERRY - VR
Virtual Reality, Animation, Narrative, Comedy
Julia Campanelli
Actress, Writer, Director, Producer
Julia is an actor, director, writer and producer of film and theatre. She is the founder of Shelter Film, a New York-based company dedicated to creating engaging films, using female protagonists and female filmmakers. Shelter's inaugural project, '116', a film Julia wrote, produced, directed and stars in, was an official selection to the 2016 Beverly Hills International Film Festival, Sacramento International Film Festival and the Action On Film Festival. www.shelterfilm.com
Julia is also Artistic Director of Shelter Theatre Group NYC, a company dedicated to equality on stage, through gender-blind, stage-blind, and color-blind casting. She has produced and directed 13 productions in NYC, including the critically acclaimed Macbeth on LES in 2014. www.sheltertheatregroup.org
As an actor, film and TV appearances include NBCUniversal's Dementia 13, Pamanhikan (Vale Film Festival winner); L'Accordatore (Las Vegas Film Festival winner); Pink Moon (Big Apple Film Festival winner); Marcus's Sweater; The Year I Grew An Inch; Walking Away; Virgin Territory; It Could Happen To You; A Bronx Tale; The Devils' Own, A Day with Conrad Greene; Prizzi's Honor; Sex in the City, Law & Order, One Life To Live (ABC); Tattinger's, and The Equalizer, to name a select few.
Julia has appeared Off Broadway as Hecate in the OBIE, Drama League and Drama Desk Award-winning hit show Sleep No More; Villainous Company; and Lucille Lortel Award- winning Queen's Company's The Wonder; as well as with Theatre Askew, Red Bull Theatre, New York Theatre Workshop and Folger Shakespeare. www.juliacampanelli.com
Women, Narrative
Madison Best
Beauty &Amp; Sfx Makeup, Art Direction, Art Department, Photographer, Production Design
MSU Film Student. Aspiring Art Director. Freelance Boudoir Photographer.
Typography, Experimental Film, Music Videos, Coming Of Age Films, Horror Films
Katherine Dalldorf
Photographer, Cinematographer, Editor, Director
Katherine Dalldorf is an associate editor, photographer, producer and camera person with an award-winning documentary production company in Brooklyn, NY. She has worked on films and projects throughout North America, Europe, and most recently the Middle East, documenting everything from the 2017 Women's March in D.C. to the refugee crisis in Lesvos, Greece. She spent time abroad studying at the Film and TV School of the Academy of Performing Arts (FAMU) in Prague, Czech Republic.
Women's Rights, Documentaries
Bessy Adut
Executive Producer, Actress, Screenwriter, Director, Producer
A dual citizen in the U.S. and Turkey, Bessy Adut was born in Istanbul to a professional bridge champion mother and a filmmaker/musician father. She acquired a Fulbright scholarship to attend California Institute of the Arts, where she studied Film/Video, graduating with an MFA in Film Directing. After graduation, she spent a few years working in the film industry in Turkey to complete her terms of agreement with Fulbright Association. She moved back to Los Angeles to direct an international documentary and to pursue her film career. She wanted to improve her storytelling skills, leading her to get a certificate from UCLA Professional screenwriting program and completing two feature screenplays. Her most recent screenplay, "The Turk" inspired by historical events, has been a Quarter Finalist for 2017 Cinestory Feature Retreat and Fellowship. Her short film as director/writer, TOLERANS, premiered at Art of Brooklyn Film Festival and THAT CAKE at 2nd Act Film Festival. STRANGE LITTLE GIRL won best narrative short film at Pasadena Art Center Film Festival. Currently, Adut is the founder of Queen B. Film Hive, LLC. She continues to work as a freelance filmmaker in Film & TV industry. Bessy's goal is to complete "Escape Room – Proof of Concept" and send it to film festivals. Her ultimate goal is to make her directorial feature film debut and continue her professional filmmaking career.
Pets, Philosophy, Literature, Filmmaking, Music
Screenwriting, Producing, Editing, Cinematography, Directing
Nicolas Rossier
Screenwriter / Producer/ Director
Nicolas Rossier is an American film producer, journalist, and cameraman whose works have appeared on television and in various venues around the world, including PBS, Hallmark channel, Al Jazeera, NHK, Knowledge, Yes in Israel and dozen other international networks. His latest films include the acclaimed feature-length documentaries "American Radical," about disgraced American scholar Norman Finkelstein and, "Aristide and the Endless Revolution," which investigates the events leading up to the 2004 overthrow of Haiti's controversial president Jean- Bertrand Aristide.
Conservation, Hiking, Tennis, Religion, History, Politics
Story Editing, Php Development, Cinematography, Directing
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text:
Q: Apply pipe or filter only for specific type of data -Angular 5 {{SelectedDateText }}
......
....
  <input matInput [matDatepicker]="picker"  [(ngModel)]="SelectedDateText"  >
......

The data type of "SelectedDateText" is string and it is also having string values in some cases like 'Today', 'Yesterday'. but when date is selected from matDatepicker it shows data in (Tue Feb 27 2018 00:00:00 GMT+0500 (Pakistan Standard Time)). I Can not apply filter on SelectedDateText as it is also containing strings. How can I manage to apply filter only when value is in date datatype or something else like this

A: Something like (with courtesy of Angular2 use basic pipe in custom pipe )
EDITED after comment
import {Pipe, PipeTransform} from '@angular/core';
import {DatePipe} from "@angular/common";

@Pipe({name: 'myDatePipe'})
export class MyDatePipe extends DatePipe
{
        transform(value: any, format?: string, timezone?: string, locale?: string): string {
        if (typeof value === "string") {
            return value; // return raw string
        } else {
             return super.transform(arguments); // use the inherited datePipe transform method
        }
    }
}

should do the trick


text:
Oblężenie Tyru – w latach 586–573 p.n.e. fenickie miasto Tyr było oblegane przez Nabuchodonozora II, oblężenie trwało 13 lat. Ostatecznie zawarty został pokój, na mocy którego Tyryjczycy złożyli królowi babilońskiemu daninę.

Wiadomości o oblężeniu zawarte są w  Księdze Ezechiela (29.18):

Przypisy

Bibliografia

Fenicja
Tyru (586-573 p.n.e.
Tyr (miasto)

redpajama_set_name: RedPajamaWikipedia


^ Denotes irregularly shaped room, refer to floor plans for details.
The Brackley is a spacious 5 bedroom detached home with double garage, stylish kitchen/dining area, utility, family room, living room and study. Bedrooms 1 and 2 have en-suites; bedroom 1 also has a dressing area.
**Each person that visits Linden Homes Midlands developments on 20th & 21st April 2019 will be given a raffle ticket upon registration and entered into prize draw. Winner of the prize draw will be announced 26th April 2019. The winner will receive special Easter Hamper. Please speak to your Sales Executive for full details.


text:
{% extends "organization/edit_base.html" %}

{% import 'macros/form.html' as form %}

{% set user = c.user_dict %}

{% block subtitle %}{{ _('Edit Member') if user else _('Add Member') }} - {{ super() }}{% endblock %}

{% block primary_content_inner %}
  {% link_for _('Back to all members'), controller='organization', action='members', id=organization.name, class_='btn pull-right', icon='arrow-left' %}

    {% block page_heading %}{{ _('Edit Member') if user else _('Add Member') }}{% endblock %}

 {{ c.joe }}

  {% block form %}
  <form class="dataset-form form-horizontal add-member-form" method='post'>

          {{ _('Existing User') }}

          {{ _('If you wish to add an existing user, search for their username below.') }}

          {% if user %}
            <input type="hidden" name="username" value="{{ user.name }}" />
            <input id="username" name="username" type="text" value="{{ user.name }}"
            disabled="True" class="control-medium">
          {% else %}
            <input id="username" type="text" name="username" placeholder="Username"
            value="" class="control-medium" data-module="autocomplete"
            data-module-source="/api/2/util/user/autocomplete?q=?">
          {% endif %}

        {{ _('or') }}

          {{ _('New User') }}

          {{ _('If you wish to invite a new user, enter their email address.') }}

          <input id="email" type="text" name="email" placeholder="Email address">

    {% set format_attrs = {'data-module': 'autocomplete'} %}
    {#% set rs = [tup for tup in c.roles if tup['value']!='member' ] %#}
    {% set rs = c.roles[:-1] %}

{{ c.user_role }}

    {{ form.select('role', label=_('Role'), options=rs, selected=c.user_role, error='', attrs=format_attrs) }}

      {% if user %}
        {% set locale = h.dump_json({'content': _('Are you sure you want to delete this member?')}) %}
        {{ _('Delete') }}
        <button class="btn btn-primary" type="submit" name="submit" >
          {{ _('Update Member') }}
        </button>
      {% else %}
        <button class="btn btn-primary" type="submit" name="submit" >
          {{ _('Add Member') }}
        </button>
      {% endif %}

  </form>
  {% endblock %}
{% endblock %}

{% block secondary_content %}
{{ super() }}

    {{ _('What are roles?') }}

    {% trans %}

Admin: Can add/edit and delete datasets, as well as
        manage organization members.

Editor: Can add and edit datasets, but not manage
        organization members.

Member: Can view the organization's private
        datasets, but not add new datasets.

    {% endtrans %}

{% endblock %}