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How do I deal with disappointment? with judgement?
These questions come forward with particular urgency during sorority rush -- whether you are going Greek or not! -- as the drama in the dorms heats up.
Step into the Bonhoeffer House for an hour with older women who have wisdom to share!
Join us for our annual BEAT THE RUSH tea on Tuesday afternoon, January 14 at 4 pm.
The UVa inner loop bus stops close by on Rugby Road. We will also be offering rides, especially for you if you've never been to the Bonhoeffer House. Want more information or a ride? Call or text Karen Marsh at 434-466-1342 or email karen@theologicalhorizons.org.
Bring your friends! All are welcome.
Newer PostNEWS! Sister Simone is coming to the Bonhoeffer House February 10!


London-based Koovs has raised about Rs 59 crores (£7 million) from existing investors including Ruffer, Coller Capital and others. New investor Mitchell Capital also participated in this round.
This round of capital raised is the last tranche of the company's three-year investment strategy to raise approximately £35 million (Rs 296 crores) as announced in September last year.
With this, Koovs has raised a cumulative amount of £31million (Rs 262 crores) so far. Koovs has also signed a strategic deal with Brand Equity Treaties, the investment arm of The Times of India Group, which publishes this paper.
Koovs will use the funds to expand its product range and invest in infrastructure like technology and innovation.
Mary Turner, CEO of Koovs says that will be the core focus for the company for the next 12 months as she looks to add 500-600 style lines per month. Koovs launched designer labels Gauri and Nainika on Tuesday in keeping with its plan of introducing two-three designer collaborations each year to expand its product offering.


text:
define(['core/collection', 'models/enquiry'], function (BaseCollection, EnquiryModel) {
    "use strict";

    var collection = {
        model: EnquiryModel
    };

    var EnquiryCollection = Backbone.Collection.extend(collection);
    _.extend(EnquiryCollection.prototype, new BaseCollection());

    return EnquiryCollection;
});

redpajama_set_name: RedPajamaGithub


>>	SELECT ?C FROM rdfs(<mydata.rdf>) WHERE ( :x rdf:type ?C).
>>	SELECT ?C FROM <mydata.rdf> WHERE ( :x rdf:type ?C).
> and translating queries on the fly.
Next message: Seaborne, Andy: "Re: agenda: RDF Data Access 21 Dec 2004"
Next in thread: Pat Hayes: "Re: tests and inference? (and UNSAID)"
Reply: Pat Hayes: "Re: tests and inference? (and UNSAID)"


Your browser now has ample ability to compose image effects on the fly, saving you a trip into an image editor. You can simulate toning effects and deliver the same image in many different ways by combining layered gradients over top of images and blending with the background-blend-mode property.
A need arose while building the Palate Deck website. After I'd placed the banner photos on various pages, I realized I'd need to go back into Photoshop to tint them and town down the contrast so I could overlay other text and images.
After consulting caniuse for background-blend-mode support, I realized that a) it's almost universally supported, and b) if used thoughtfully, it's an effect that will degrade fairly well when it's not.
And so I stumbled across a new image compositing trick.
This effect is pretty familiar if you've ever digitally tinted a photo: take a photo, then add an adjustment layer over top to tint it, or adjust contrast, or add a gradient.
Unlike an image editor, in this case the adjustment layers are browser-generated gradients. And we're doing this all with background image properties, and the multiple images they support.
But wait, isn't this what filter is supposed to do? I would have thought so too. However, the latest working draft doesn't have a mechanism for precise image toning. We're able to control contrast, and rotate the hue through the spectrum (an ability that's rarely useful in the real world), but it's unable to apply specific colour toning and subtle differences to various regions of the image.
So this is where we need to turn to layering and blending. To make this work, start by setting up your image as background-image instead of an img element. You'll need to set specific dimensions for your container (and media queries to resize where appropriate) and then use background properties to control it all.
To give you an idea of the adjustment control you have, I'll walk through the steps to create the comparison blend at the beginning of this article.
To start, I wanted to tint the image. This is easily accomplished by laying a solid-colour "gradient" over top with the same colour at both start and end points, then using the color blend mode to mix. By adjusting the alpha value of the end points you can control whether the image is fully tinted with the overlaying colour, or whether it allows natural colour to poke through.
The next step was dropping back contrast to let me add text over top. I'm not going to show the text here, but let's talk about the contrast.
Unlike tinting, we can control brightness and contrast with filter here. But it's not ideal since it only applies to the final rendered stack, which means it takes all previous effects with it. In this case I'd like the contrast adjustment to occur on the image before the tint and the red gradient is overlaid, so it won't work for me.
So we'll have to fake it with more gradients. I've chosen to use two; one a white layer set to 50% opacity and the lighten blend mode, the second a 50% opacity black layer set to darken. Combining those two together lightens the shadows and darkens the highlights. It results in a much greyer image, but that doesn't matter since I'm applying the tint over top.
The basic image is where I need it now, so the last thing to do is add a red gradient at top of the stack to get the final tone I was shooting for. This last layer has some opaqueness and is blended normally to drop the finished contrast further.
The big caveats for this technique are that support for background-blend-mode in IE/Edge is non-existent right now, and Safari doesn't support the necessary color blend mode yet, so all examples thus far appear broken in those two browsers.
As I said at the beginning, it can degrade well, but you need to plan ahead.
The multiple layers I'm using here are problematic because without blend modes, the rendered result is a muddied mess. It may not always be that bad, but clearly I need to back up a bit with this example.
The compromise I found for this use was pre-toning and contrast-adjusting the photo in my image editor, and then applying the finishing gradients in the browser. I lose out on some of the benefits listed below by doing it this way, but since I know it's only a matter of time before Safari and Edge are on board, I'm looking forward to adding the full version to the arsenal in the not so distant future.
You could also consider using @supports to provide a lighter, blend mode free background stack for these browsers, and a second full-featured stack for browsers that do. Support for background-blend-mode and @supports intersects nicely, as IE and Opera Mini will simply ignore the block, while Edge and Safari will choose not to parse it. You'll need to maintain more code, but @supports does offer a way to avoid pre-toning the image.
So how useful is this, really? Why build up your image toning in-browser instead of simply pre-composing in an image editor?
The answer is flexibility. You may not always be in control of the original image. It might be user-generated or coming in from a CDN. Or you may want to re-purpose it in different sections of your site. Being able to manipulate any source image in the browser is just one more trick for controlling the uncontrollable.


text:
NewsLocal NewsManhattan
Oscar Lopez Rivera booed and cheered at NYC Puerto Rican Day Parade
Oscar Lopez Rivera was cheered and booed as he stood proudly on a float when the Puerto Rican Day Parade stepped off Sunday.
NEW YORK –– Oscar Lopez Rivera was cheered and booed as he stood proudly on a float when the Puerto Rican Day Parade stepped off Sunday with him as the "National Freedom Hero" that organizers had named him.
His supporters followed, carrying signs that read, "Oscar Lopez Rivera is our Mandela."
Nanchelle Rivera — no relation — was not among them. From the sidelines, the 28-year-old spectator said she refuses to back the man who served 35 years in prison for his involvement with a group responsible for bombings that killed and maimed dozens in the 1970s and 1980s.
"He did not represent me," said the young woman visiting from Orlando, Florida.
She said she would not have come to watch the celebration if she'd known Lopez Rivera would be there.
A supporter in the parade heard her booing, and shouted back, "This is your history!"
For at least the first hour, the march allayed fears that it might turn violent, given the fervent discussions that for weeks preceded the activist's planned appearance.
New York City Council Speaker Melissa Mark-Viverito tried to smooth out the verbal clashes that flew for weeks among those for and against Lopez Rivera.
"I'm here to celebrate," she said. "This is a day of unity and celebration."
Controversial figure #OscarLopez Rivera on a float up 5th Ave. at the National #PuertoRicanDay Parade @PIX11News with complete coverage pic.twitter.com/C3dTuBl9On
— Shirley Chan (@ShirleyChanTV) June 11, 2017
As for those who chose to stay away because of Lopez Rivera, she said "that's their decision."
The controversy resulted in both individuals and corporations, including AT&T and JetBlue, withdrawing from the parade in protest of the decision to honor the 74-year-old former member of the militant Puerto Rican nationalist group Armed Forces of National Liberation, or FALN.
New York Gov. Andrew Cuomo and several police and fire department groups also said they would not attend.
And Lopez Rivera said last week he would not accept the title of "National Freedom Hero" but would instead join the parade as a regular citizen, partly because the focus was too much on him and not enough on the plight of Puerto Rico.
Most of the tens of thousands of revelers turned out simply to celebrate Puerto Rico, happily salsa dancing and waving Puerto Rican flags. Some wrapped their bodies in it, others adorned their heads with the red, white and blue colors.
"We don't care that he is here," said Rosa Rosario, a 68-year-old New Yorker.
"I don't support a political movement," she said, explaining that she was at the parade to support "my hometown, Hormigueros" — a municipality in the western region of the island.
The parade has often been a venue to showcase the complicated history of the U.S. territory, now mired in a recession. This year, it comes on the same day Puerto Ricans vote among three choices: independence, statehood or their current territorial status.
Decades ago, FALN claimed responsibility for more than 100 bombings in the U.S. and Puerto Rico, including a lunchtime blast in 1975 that killed four people at New York's historic Fraunces Tavern.
Lopez Rivera was convicted of seditious conspiracy though he was never charged with any specific bombings and has denied participating in attacks that injured anyone. He was released last month following the commutation of his sentence by then-President Barack Obama.
Mayor Bill de Blasio, who for weeks defended his own decision to march, said last week that he was uncomfortable with the idea of honoring Lopez Rivera all along. He showed up for the march, making no comments but shaking hands with people across police barricades.
New York held its first Puerto Rican parade in 1958, when it was barely legal to display the Puerto Rican flag on the island and Puerto Ricans on the mainland faced harsh discrimination.
Congress will ultimately have to approve the outcome of Sunday's referendum. Some Puerto Ricans blame the current recession on the U.S. government, partly because of the elimination of tax credits that many say led to the collapse of the island's manufacturing sector.

redpajama_set_name: RedPajamaCommonCrawl


We have been working very hard to understand the theme of our stories. To find the theme students are encouraged to look for the problem, how the character overcomes the struggles and the lesson the character learns.
Readers are always doing this work. Please encourage your child to practice this work during their nightly homework. Finding evidence for the theme makes a great post-it note!
We have been working on seeing the connection between reading and writing. One of the big aspects is noticing the story elements that are present in fictional text. We have discussed that fictional stories have a beginning, a problem, events where attempts are made to solve the problem, a solution to the problem and an ending. It is important students include all of these elements when writing a fictional story. Also, it is important that students are able to identify these story elements when they are reading as well.


[. . .] According to Congressional Budget Office the plan will help reduce deficit by a startling $138 million over ten years (Health Care Reform, 2012). Although the statistics are subject to debate but the new plan ensures that costs are not distributed evenly but the plan actually helps in curbing the overspending crisis currently present in this particular industry. By cutting on the deficit our modern citizens can use money from bank at lower prices and bridging the deficit will help in improving the economic and employment status in the country.
Another extension of this argument is that Obama's plan helps curtail overpayment to insurers. In Bush's administration overpayment was of such nature that insurers were being subsidized for which the economy got nil benefits in return. By saving on the Medicare costs the government can explore the possibilities of spending the saved amount on welfare projects.
It is argued that "80,000 people a year are killed just by "nosocomial infections" -- infections that arise as a result of medical treatment" (Health Care Reform in the United States). Such arguments are tenuous by nature and cannot be linked to the expanded health care coverage especially under Obama's plan where preventative measures form the core of the insurance coverage. These measures include reducing the rate of hospitalization, re-hospitalization and also improving the prevention efforts in the patient's setting. Opponents to the plan quote Rand's study that increasing the generosity of the people's health insurance made no impact on the general situation of the health status. However, the findings seem to point to the contrary. "The poorest and sickest 6% of the sample at the start of the experiment had better outcomes under the free plan for 4 of the 30 conditions measured. Specifically, •Free care improved the control of hypertension. The poorest patients in the free care group who entered the experiment with hypertension saw greater reductions in blood pressure than did their counterparts with cost sharing. The projected effect was about a 10% reduction in mortality for those with hypertension. •Free care marginally improved vision for the poorest patients. •Free care also increased the likelihood among the poorest patients of receiving needed dental care. Serious symptoms were less prevalent for poorer people on the free plan. •Cost sharing also had some beneficial effects. Participants in cost sharing plans worried less about their health and had fewer restricted-activity days (including time spent in seeking medical care) (The health insurance experiment)."
In spite of all the pros discussed above there are a few points to be discussed about the bill. It is argued that one of the goals of the plan is cut on the development taking within the industry and to curb the process of new medications and technologies because they are driving up the costs of health care (McCaughey, 2009). Hence, the plan has more to it than may appear, by seeking deficit cuts and expansion of healthcare the authorities are actually trying to cut on the developments that may provide medications for various illnesses and fatal diseases which might also me cost effective in nature. By trying to control the reins of this industry the government planned procedure might prove to be a thorn in medical breakthroughs.
The bill is going to affect every individual living in the United States. Medical treatments will get tracked electronically by the federal system; such trackers will prove to be useful for records can help eliminate duplicate tests and errors. However, the bill takes a step forward when it gives birth to a new bureaucracy, the National Coordinator of Health Information. This bureaucracy will oversee the treatments being handed out by the doctors and it can intervene when and where it deems fit to ensure that the treatment is not only appropriate but cost effective. However, in modern times when medicine has broken down barriers and has advanced in many respects it is quite unfitting on the part of the government to intervene in matters such as these. This is the age of specialization and who else than a doctor can recommend and hand out better treatments (McCaughey, 2009).
Daschle argues that the health care reform will "not be pain free." Old aged people (baby boomers generation) should be more receptive to the idea of them being ill rather than focus on the treatment. Hence, elderly should bear the brunt. Before the Obama's plan came into being, Medicare paid for all such related treatments, the new bill changes all that. This means that when it comes to caring for elderly, the young generation will be given a preference over them. The Obama's plan can be likened to UK board. According to this health board elderly patient facing macular degeneration had to wait until him or her got blinded in one eye and then would receive treatment to save the other eye. Being elderly cannot be considered as a burden on the state. America is a welfare state and should cater to the needs of the citizens regardless of age or class. Age and class (See Appendix A and B) are the two most significant factors into play when we consider the healthcare reforms and their impact on the new generation and the baby boomers generation of 60's and 70's (McCaughey, 2009).
All in the entire bill needs more scrutiny and should not be applied without considerations being taken into account. It must be remembered that the health care industry is the largest employer in the U.S. And produces around 17% of the Gross Domestic Product. Instead of treating it as a cost problem it should also be treated as a growth industry. What would happen if you limit the growth and creativity in the fields of electronic or defense per se. The limiting of health industry in this manner is a threat not only to the industry itself but to the entire economy in general (McCaughey, 2009).
The world in which we live in today speaks of liberty and freedom. Although the patient is the central figure and the decision maker in this particular industry the new plan offers a paternalistic view of the situation. Patients are capable and adults enough to make decisions regarding their health while the children are taken care of by their respective parents and guardians hence there should not be an another figure or authority to dictate terms to them when it comes to matters as personal as one's own health care . The authorities can work in guiding capacity but cannot direct citizens directly. Considering that patients have ownership of their health resource resources and choice over how to use them will also increase the demand for transparency. Transparency regarding issues such as cost and quality of services can be dealt much better this way .
If the healthcare plan does plan on extending healthcare coverage it should do so by providing financial support to those that are deprived of such services instead of limiting and restricting their actions by the introduction of price controls and mandates. The government can work in guiding capacity and help patients get all the information they need and then let them decide on what plan they want. Limitations like the ones in Obama's plan are not universal, what is best fit for one is not best fit for others. Human beings and each individual have different needs and different resources at their disposal; this diversity is what makes us human .
Hence the end goal of the government should not be designing health care schemes which seem to provide for all individuals via same mechanism. Hence, they should rather focus on providing for those and aiding those that have insufficient resources to go for health care themselves but though 'indirect' means .
"Obama Care Plan Health." 5 September 2012. Web. 19 April 2019. <https://www.essaytown.com/subjects/paper/obama-care-plan-health/4378589>.
"Obama Care Plan Health." Essaytown.com. September 5, 2012. Accessed April 19, 2019.


Modern life offers a lot of career opportunities for the young generation. Career choices strongly effect the life of the young individuals therefore these choices have to be well-considered and weighed. Choosing a career is a very responsible step which requires a thorough study and examination in order to chose a profession that will not only bring personal satisfaction but will also provide the opportunity to be financially independent. Primarily, it is vital to determine the demand on the chosen occupation in order to evaluate correctly its real perspective. Then, it is necessary to analyze personal inclinations to certain activities associated with the occupational choice. In other words, an appropriate career choice has to be a perfect balance of the individual's talents and the social demand on the career. Therefore, it is important to examine the situation in the existing labour market and read the forecasts of professional career analysts. The paper presents the evaluation of three major appealing careers among a wide range of different career opportunities. The first one is meeting, convention, and event planner, the second one is farmer, rancher, and the third one is food service manager.
Meeting, convention, and event planners are nowadays considered to be the representatives of successful career choices. Typically, meeting, convention and event planners meet with clients to comprehend the goal of a given meeting or event, create the plan of the event with appropriate location, program and timing, evaluate the cost of the event with due regard for bids from service providers, and coordinate the whole scenario of the event or meeting including place, transportation, food services. Meeting, convention and event planners take full responsibility for the event and ensure they meet the requirements of the client. This career is perfect for people with well-developed critical thinking abilities, social perceptiveness, and communication skills implying active listening and speaking with full attention to the details provided by the client. A professional meeting, convention, and event planner is to be committed to time management, coordination and monitoring along with the ability to make rapid judgments and decisions. Choosing the career of a meeting, convention, and event planner allows to chose from the following positions: an association planner, a corporate planner, government meeting planner, a convention service manager or an event planner.
The choice is to be made in accordance with the individual's interests and preferences. The work environment of meeting, convention, and event planners may be generally characterized as fast-paced and demanding. A typical meeting, convention, and event planner spends most of the time in the office coordinating and planning the minor details of events and meetings. At the same time, this career choice offers regular visits to different locations and sometimes even exotic countries with the goal of finding the perfect place for the client's event or meeting. In the majority of cases meeting, convention, and event planners work for private companies and approximately 9 percent of all event planners are self-employed working for business and political organizations, hotels, trade shows or universities. This career opportunity seems very appealing in terms of broadening of the outlook, activity, connections and travelling. At the same time this career may leave no time for anything else but work as it requires a 24/7 dedication and availability in order to coordinate all the aspects of a given event or meeting.
Therefore, it is more appropriate for young unmarried people without family responsibilities. To become a meeting, convention, and event planner one needs to obtain the bachelor's degree in marketing, public relations, communications, business or hospitality management and a minor related work experience in planning (less than a year). Preference is always given to those candidates who have hospitality management work experience or a bachelor's degree in hospitality management. Consequently, a meeting, convention, and event planner may chose to get two possible certification training: the Certified Meeting Professional (CMP) and Certified Government Meeting Professional (CGMP). Both of these certificates are not compulsory, nevertheless Certified Meeting Professional (CMP) increases the chances to be put in charge of a major meeting or convention. A Certified Government Meeting Professional (CGMP) is a voluntary certificate for individuals who are willing to work for the local, state, federal, or government correspondingly affecting the general income due to the scale of the federal events or meetings. In order to become a certified professional it is possible to volunteer in the planning activities of the university while studying to get the bachelor's degree in a bachelor's degree in hospitality management. A candidate must have a minimum of 3 years of meeting management experience, recent employment in a meeting management job, and proof of continuing education credits in order to become a Certified Meeting Professional (CMP) and a six-month membership in the Society of Government Meeting Professionals and at least a one year experience as a meeting planner to become a Certified Government Meeting Professional (CGMP).
According to the analysis of the year 2010 there are 71,600 jobs for meeting, convention, and event planners. The projected growth of the field for the period 2010-2020 is faster than average and is approximately 30 percent and the projected job openings for the given period is 45,000. The job prospects for the future are more than positive as the careers is in high demand. The median income of the career is $46,020 per year. Nevertheless, the median character of this number indicates that the income can be higher and depends on the level of the organized events and meetings. The perspective of getting at least $50,000 per years seems very appealing and is sufficient for a young growing specialist. The explored career of a professional meeting, convention, and event planner has evidently confirmed that this career is a good choice in terms of income and prospects. A young active individual can strongly benefit from becoming a professional meeting, convention, and event planner.
The farmers, ranchers and other agricultural managers represent the career opportunity dealing with supervision of the crop production, its fertilizing, planting and harvesting. A farmer is expected to find new ways of raising crops and livestock in accordance with the conditions of the market, federal programs and the general condition of the soil. Farmers, ranchers and other agricultural managers select, purchase, operate and repair corresponding farm machinery, serve as sales agents for their livestock and crops, and keep all the records revealing the financial situation in terms of taxes, production and employees. In order to become a farmer, rancher an individual has to aquire a profound knowledge of the present nuances of the agricultural sector in the country, have developed planning skills in order to plan in detail the choice of crops and the rotation of the livestock, demonstrate rapid react to fluctuations in prices, predict possible diseases, forecast weather conditions and track federal farm programs in order to avoid losses.
A farmer, rancher may either be self-employed or work for the government in the spheres of agriculture, forestry, fishing, and hunting. Approximately eighty percent of the working farmers and ranchers decide to stay self-employed and the other twenty percent are agricultural managers with a set salary. The major part of the farmer's working hours is spent outdoors performing physical work and minor time in spent performing office work. Farmers chose to concentrate their efforts either on crops and vegetables or livestock but sometimes handle both of the spheres. The career requires a full-time dedication as the next-year planning and work output analysis makes a significant part of the job. Managing a farm demands a lot of knowledge and physical work from an individual but the major negative perspective of the job is that the output and income of a farm are strongly influenced by changes in federal farm programs, fluctuations in prices, weather conditions and even diseases. In order to become a farmer it is necessary to simply have a high school diploma, nevertheless a bachelor's degree in agriculture will allow to obtain a good income from this career choice. The college students interested in agricultural management may decide to focus on agronomy, agricultural economics, farm management or dairy science. A professional farmer may chose to evidently prove his or her level of professionalism by receiving the accreditation of the American Society of Farm Managers and Rural Appraisers (ASFMR).
Such an accreditation is possible only under the condition of having a bachelor's degree and four years of work experience in the sphere of agricultural management. The income of the given career choice reveals direct correlation between the individual's income and the years of work experience. It is possible to become a farmer without the bachelor's degree or certification but this will dramatically affect the wage downturn. The career of a farmer is not in high demand nowadays, nevertheless the amount of related jobs was 1,202,500 in 2010. The job outlook for the period of 2010-2010 reveals a moderate nine percent decline of the career. By 2020 234,500 people are expected to enter the agricultural management field. The general development of the career strongly depends on the direction of governmental decision related to the agricultural sphere and on the involvement of the young generation. The median income of the career is $64,660 per year which as sufficient amount of money for a career that does not require complex educational efforts. In spite of all the benefits of the career of a farmer and a high annual income the exploration of the career has revealed that it is a choice for less ambitions individuals or those who decide to stay committed to the field and dedicate their lives to it due to the continuity of a family career.
The career of a food service manager is the career of a person who takes responsibility for the management of the daily routine of restaurants and other establishments that serve beverages and food for their clients. The major task of a food service manager is the customer satisfaction achieved by means of proper employees, high level of quality of the products and commitment to national safety standards. A food service manager is in charge of scheduling work hours and is the person who assigns the duties of the employees, keeps financial records, and promotes quality customer service. The career implies the individual's dedication to the restaurant's performance and affect on the customer's health. It requires active learning, listening and speaking, good time management skills, the ability to implement management of personnel resources, social perceptiveness and developed critical thinking. Typical food service managers work in different restaurants, cafeterias, dining rooms, fast-food chains or establishments that have a kitchen like hospitals, offices and schools. Almost half of the food service managers are self-employed. The job may be very prospective in terms of restaurant administration experience nevertheless it is a career choice in the first place for an individual that is highly competent in the sphere of food and knows the process of cooking on the inside. This is the primary reason half of the career representative work for themselves and therefore possess a restaurant or a cafeteria. Food service managers are trained to become as counter attendants, cooks, waitresses, and waiters. In order to qualify as a food service manager an individual has to present a high school diploma or its equivalent and have at least one year of work experience in a food service establishment.
Nevertheless, the position of a restaurant manager requires a bachelor's degree in the field of hospitality or food service. A food service manager can obtain the voluntary Foodservice Management Professional (FMP)certificate revealing professional competence. According to the 2010 research there are 320,600 related to food service management and 59,100 are expected to get involved in the field by 2020. The career is a subject of a moderate nine percent decline as its development depends on the economic factors leading to the inability to open more food service establishments. The median income of the career is 48,110 per year which insufficient in terms of time dedication and absence of concrete perspectives. The career requires a lot of time as the working hours of a restaurant and cafeteria do not correspond to the standard work hours. Another aspect revealed through the examination of the career is its potential excessive stressfulness and the absence of a major future prospect.


Today I am introducing a new blog series called Sitecore Tidbits. Every post will be a collection of various topics from simple UI enhancements to complex architectures. There won't be a specific topic per post but mostly a channel for me to share specific experiences with Sitecore development. Once in a while, you'll see other Roundedcube "Cubers" contribute or even have their own post under this umbrella. So, I hope you enjoy it and let us know if there are any specific tidbits you want us to discuss. Also, since I won't get too deep in any of these, just post a question in the comment section and I'll reply as soon as I can.
Just remember that if you have multiple options, separate them with an ampersand (&).
Have you ever wondered how you can specify which traffic is of specific type? Sitecore automatically identifies simple ones like direct and search engines (see trafficTypes pipeline). But, when you look at the Executive Dashboard or some other reports, you don't really see other ones like Paid, RSS, and Email (see full predefined list at /sitecore/system/Settings/Analytics/Traffic Type). To "enable" it, use campaigns. In the paid campaign, you can specify the traffic type. So when the campaign is triggered (either programmatically or explicitly through URL), the visit's traffic source is then considered as "paid". You should now see visits for this particular traffic type in the executive dashboard and other reports.
You can use the new API's that comes with Item Buckets for site search. Natively, Sitecore has the SearchManager. With Item Buckets, you have several options: BucketQuery, BucketManager, or item axes extensions. Each of these areis very simple to use but has have powerful options such as pagination, template filtering, date ranges, tags, and several others. You can also extend it with your own extensions if necessary. Since Item Buckets use Lucene.NET, you can easily create your own index using a configuration.
If you use Item Buckets (or even SearchManager) as it is, you will get its powerful indexing and searching capabilities but you will not get typical search engine features such as hit highlighting, faceted search, etc. To get those, install SOLR (it's Java-based so you might cringe a bit) and follow the instructions in the item buckets developer guide.
Here's a simple action that refreshes the page after form submission. Why use it? Well, sometimes you may just want to prevent the "dreadful" repost issue since WFFM uses the postback method for submission. This simple refresh essentially just refreshes the page your form is on.
If you wish this to be backwards-compatible, make sure to also inherit and implement the now obsolete ISubmit interface.
That's it for this inaugural edition of Sitecore Tidbits. Thanks for reading. And again, let us know if you have any questions or have any topics that you would like to hear about in future posts.


text:
New Song, Same Old Lyrics
As part of a general online overhaul, this blog is moving. Whereas up to now it's been hosted by Blogger - many thanks, Blogger, for this accessible and user-friendly option for the technically challenged - from here on it will be integrated into the website at stephengallagher.com. At the time of writing the site's still a work in progress, with a lot of placeholders.
But the blog's up and running and the backlog of material has been ported across. To respect any old bookmarks or searches I'll leave this version up at this location to sail onward like a ghost ship, crewless and uncaptained but with its cargo intact.
Okay, so in such circumstances a cargo can get a bit mouldy, but let's not push the comparison too far.
Posted by Stephen Gallagher at 11:16 0 comments
Comparative Anatomy: for preorder
With an introduction by Stephen Volk
"Magic always stops at midnight," says the doomed narrator in the title story of Stephen Gallagher's career-spanning collection, Comparative Anatomy, but while that may be true, the reader will find no end to the magic in these thirty astonishing tales by one of Britain's most distinguished writers.
From the inimitable postwar melancholy of a forlorn ghost bound to the house in which it died in "Twisted Hazel," and a common man's misguided attempt to temper grief in "Shepherds' Business," to the unsettling demands of an overbearing family desperate to reap the rewards of vicarious fame in "Little Dead Girl Singing" and the collision of disparate personalities among wicked children and bizarre religion in "The Butterfly Garden," Comparative Anatomy is as much a meditation on what it means to be alive as it is an exploration into what may await us when we die.
Herein you'll find stories that explore the very nature of ghosts and how often it is us, and not those we've lost, who do the haunting, as the lines blur between the paranormal and the pathological, and all manner of characters from time travelers to clairvoyants, priests to serial killers, and thieves to ventriloquists, find their souls laid bare by spectral encounters and the sinister desires of man's own fractured psyche to know what comes next.
Comparative Anatomy includes two original tales, a novelette, "The Backtrack," and a short story, "Live from the Morgue," written especially for a collection by an author at the height of his power as one of the premier dark fantasists of his generation.
Limited: 1000 signed numbered hardcover copies. Available for preorder.
Special Offer: Those who preorder Comparative Anatomy from SubPress will receive an ebook of the original novelette, "Hounded," about which the author writes:
A big old house with a private forest; what better place for Charlie to play host to his godson, their partner, and two dogs in their time of need? But Charlie should beware. The rescued know that security, once found, is not to be given up lightly.
To preorder from Subterranean Press, click here
Well, this looks rather fine
Everything But The Doc
My spot on the guest list at Gallifrey One came about through my association with Cutaway Comics, a sprung-from-lockdown publishing house featuring creator-owned material in a Doctor Who splinter universe; characters, monsters, villains and others all licensed from their individual rights holders or, in some cases, their estates. I was there with publisher Gareth Kavanagh, writer/editor Ian Winterton, and artist Martin Geraghty as part of the launch of Cutaway's Gods and Monsters megaproject.
Gods and Monsters comprises a set of one-shot comics based around individual characters followed by a six-part limited series. The series draws all of them together in a single narrative. It's been supported by a crowdfunding campaign that was launched at the convention and which met its target within twelve hours. By the time it ended, the Kickstarter was funded almost four times over with numerous stretch goals triggered.
(If you missed out, the one-shots and series will be available through the usual retail outlets.)
It's a vast project but the part I tend to bang on about is the first of the one-shots, Faustine, because that's the one I wrote. Faustine herself is a new character but the backdrop to this two-parter - if a one-shot can be a two-parter - is the human slave uprising that played a significant role in the Tom Baker Season 18 story Warriors' Gate.
The story's in the late stages of production now with art by Martin Geraghty, colours by Andrew Orton, design and lettering by Colin Brockhurst. I've watched it all coming together and it's looking great.
Meanwhile, at Gallifrey, the Cutaway stand sold out all of its stock of current titles. We managed to escape the hotel for a few hours either side of the weekend, first navigating the LA transport system for a visit to Santa Monica Pier and a walk down to Venice Beach, and later with a rental car for a whistlestop tour where I got to show some favourite spots of mine; the view from Mulholland Drive, the House of Secrets comic book store, the '60s TV Batcave in Bronson Canyon, the Music Box steps, the Bradbury Building as featured in Blade Runner and Harlan Ellison's Outer Limits episode Demon With A Glass Hand (closed to the public due to Covid restrictions, but I could offer a squint through the windows).
Faustine will be available soon and Gods and Monsters will follow. Watch this space for more.
Gallifrey One 2022
It's now more than two weeks since my return from the all-vaxxed, all-masked 32nd Gallifrey One, the big annual Doctor Who convention in Los Angeles. They had to skip last year because of Covid and capped this year's attendance at 2,600 to reduced crowding. After two transatlantic flights and a weekend spent mingling with more people than I've been close to in the past 2 years, I'm still testing negative. The Con itself was one of the most enjoyable I've attended, down mainly to the calm efficiency of the organisation and the relentless good spirits of the attendees.
There were no noticeable problems over mask compliance and the requirement for proof of vaccination or infection-and-recovery meant that dropping the masks for food and drink felt like a low-risk move, allowing for sociable evenings in the bar. Guests onstage could choose whether to remove masks, which most of us did. Microphones and seats were wiped down between panels. There was no masquerade but cosplay was in evidence throughout. I lost count of the Jodie Whittakers (of all ages) but it was the three identical David Tennants that messed with my head.
The general endorsement of the measures has to be qualified by the fact that those with objections stayed away, while the organisers could point to city ordinances to back up Convention rules. Despite that I understand that they took some online abuse. No one present considered this a 'new normal', but a transitional stage on the way back to it. Last year I was writer GoH at the all-online World Fantasy Convention, where the move online was one of the first, bold steps in keeping the flame alight. We didn't kid ourselves that we could replicate the presence and conviviality of the live event, but the Con committee pulled off a remarkable feat.
I will say that Zoom's brought a permanent new element into fandom. My local SF group, well into its fourth decade, moved entirely online in the first weeks of lockdown and we've been meeting virtually twice a week ever since. The big advantage; several of those who've moved away (and in a couple of cases left the country) get to join in again. When we go back to something more approaching normal we plan to have one live pub meet and one online, to keep everyone onboard.
Auction for Ukraine: Warriors' Gate in rare hardcover
Johnny Mains is running an auction of books, scripts, and other genre-related goodies, many of them donated or signed by the creators, to raise funds for Red Cross humanitarian aid in Ukraine.
That's a screenshot but you can click here for the actual link.
Among the lots on offer is this:
One of a short run of hardcovers produced for library issue, this copy's been in shrinkwrap for 30 years so condition's as good as it gets. You're unlikely ever to see an example that isn't ex-library. It's from my personal archive and I wasn't intending to part with it, but these are exceptional times.
Johnny's taking bids via the comments section of his blog, so without the involvement of eBay or any other auction house 100% of the money goes to the Red Cross. The winning bidder on March 12th makes the payment to Red Cross Ukraine and on proof of receipt the item's donor will send it directly to the winner.
Johnny originally specified UK bidders only, but is making exceptions for those willing to bear the cost of overseas postage.
If you want to put in a bid on this lot, Lot 40, go for it. And look at the other lots as well, there's some great stuff in there. Otherwise please consider passing this information along, particularly to any Doctor Who fan, newsgroup, blog, website or other outlet you think may care to know about it. We have until March 12th. There was considerable interest when a clean copy was offered on eBay last April; without that platform we can't hope to achieve the same reach, but we can try.
UPDATE: A successful fundraiser. Thanks to Johnny, and to all who bid.
Stephen Couper and the Old Stuff
Stephen who, you may ask?
Well, there's a story.
This covers shot was posted on social media by novelist, games lead writer and tie-in king Steven Savile. Steve is a friend and, Gawd bless 'im, also a completist collector of my stuff. These pseudonymous '80s paperbacks filled a last gap on the shelf, he reckons. They're an example of a form I think I may have pioneered, the Two-Book Trilogy.
To explain. My first pro sale was a radio serial titled The Last Rose of Summer. Made for peanuts with love and joy, it was the spawn of a bunch of TV and radio colleagues and it played at strange hours on commercial radio stations throughout the land. Our timing was good. It was science fiction, and '77 was the summer of Star Wars. I was 23.
The first book sale came right after, a spinoff in the form of a novelisation of the serial scripts. The six half-hours offered a handy mass of foundation material for 70,000 or so words. It wasn't just a matter of putting in the he said/she saids, although I've seen many a book-of-the-film that did little more.
Instead it was a pretty steep learning curve. What I picked up in a short time was the essential difference between script and prose. In a drama we infer a character's inner life from all the externals; what they say, what they do, what we're shown. In prose fiction we automatically put ourselves inside a character's mind and experience the story world through their perceptions. Outside looking in, inside looking out. Which is why point of view matters.
The radio serial was followed by two more. The same was intended for the books but it emerged that, Hitchhiker's Guide notwithstanding, the radio novelisation was too niche a genre to be commercial. The second book was written and there was even a cover designed, but publication was cancelled and the contract was paid off.
Good SF never dates, but I fear this wasn't that. I'd channeled the central trope from 1984 along with a 1960s schoolboy understanding of computer science and I hadn't yet learned to write women. It did have something, though. If I dip into it now, alongside the wince-making stuff I like to think I can see some of the native aptitude that others sensed and were willing to back.
By then my agent had placed Chimera with Sphere, who sold on the hardback rights to Michael Joseph. Then Michael Joseph pulled out on the belated realisation that they'd get no share of the paperback revenue, so instead Sphere offered to reprint Last Rose and the unpublished SF titles... but on condition that I used a pseudonym, to avoid crossover with the campaign they were planning for Chimera. Which is how Stephen Couper came into the world.
Rather than reprint, I rewrote. Names, incidents, worldbuilding... I can't give you details, it's mists-of-time stuff now. So The Last Rose of Summer became Dying of Paradise and Hunters' Moon became The Ice Belt and The Babylon Run... well, with history repeating itself, The Babylon Run was written but didn't make it.
Hence, the two-book trilogy.
I look back with mixed feelings. I meant to improve on my tyro efforts, but it feels more like I just mucked about with the material. And while Last Rose may be the purer version, The Ice Belt no longer connects to it.
People remember the original serials, which is nice. They're easy enough to find online. I'm sometimes asked if I'm thinking of reissuing the novels and I tend to dodge the question. It's... messy.
Also, with the exception of The Babylon Run I don't have the books in digital form. I could scan them, but Last Rose had some inept copy-edits that I was never given the chance to correct, and I can't say for certain whether the original manuscript is still intact or got chopped about to make Paradise. The papers are all in my old university's collection at the Hull City Archive. I make the trip every now and again if there's something I need to check... but is this really that kind of need? It's not like we're talking about a Shakespeare First Folio.
And if Steve Savile's example is anything to go buy, if you're really interested you can pick up nice old copies for around three quid a pop.
I said there was a story. I never said it was a great one.
News, Unexpected
So look what popped up in my Twitter timeline yesterday, and I'm grateful to Charles for passing it on; The Governess, a chapbook put together as a labour-of-love lockdown project, has received this recognition from the Arthur Conan Doyle Society. The announcement came in its inaugural Doylean Honours Awards ceremony, streamed live from Manhattan's Mysterious Bookshop.
The physical form of the book—the layout, the page settings, the font choices—is based on a first edition copy of The Poison Belt that I picked up for not much money just a week or so before Covid hit.
The W S Stacey and F S King illustrations, long out of copyright, are photographed from old bound magazines on my shelves. With the story already written, I combed through their pages in search of images that worked with the text. They're all from different, unrelated pieces. To the spirit of the other artist whose name wasn't given, I can only offer appreciation and an apology.
Mention Conan Doyle to most people and their thoughts will go straight to Holmes, but for me it was always The Lost World that fired the imagination. I've written elsewhere of the part it played in my Murder Rooms TV movie (covering an episode in the life of the young Dr Doyle that would inspire the later fantasy) and how it shaped some of the thinking behind The Bedlam Detective, the second of my three novels about the Special Investigator to the Lord Chancellor's Visitor in Lunacy.
It was in The Bedlam Detective that I had something of a dry run for The Governess. It was in the form of a first-person chapter written in the Edwardian voice of Sir Owain Lancaster, leader and almost lone survivor of an Amazon expedition with a disastrous outcome.
The Challenger short story is narrated by The Lost World's Edward Malone, and features the Professor in his later role as a spiritual investigator. Doyle, as we know, was fully on board with the Spiritualist movement. I'm not, but here as in my earlier novella In Gethsemane I find it a potent source of metaphor and human drama.
Both of those pieces, I should add, will be included later this year in Comparative Anatomy: The Best of Stephen Gallagher, my mega short story colection from Subterranean Press. That will also include some new fiction.
But for now, you can pick up the chapbook here. Even if it's only for the pictures.
The Governess
The Bedlam Detective
New for 2022 from Cutaway Comics
Kickstarter launching soon
UPDATE: Kickstarter now live ending Friday, March 11


Disaster strikes again. I arrived home tonight and turned on my laser only to find that I couldn't see the beam on my object. At first I was quite confused as none of the mounts had been bumped and I'd recently ensured that none would drift on their own.
I posted the picture on the holography forum and had a few members tell me that the front facet had been blown off. Apparently this can happen if there's a transient spike when the laser is turned on.
Damnit. I've put my HeNe back on the table and I'm going to work with it while I look for my next diode. I'm tempted to try removing the window from my first diode and see if I can use it as an open-cavity laser. Before I can do that I'll have to find a way to remove it from the housing.
I shot two holograms this morning just to test the layout and the new plexiglass holder I made last night. Earlier in the week I'd tried using a single sheet of plexiglass as a holder but was getting banded images.
The general consensus was that the film was moving during exposure. While I know that a laser diode going through mode hops will generate similar bands, it was also possible (and my hope) that the film was moving.
let the table settle for 10 minutes and shot. Both holograms came out fairly bright (a little overexposed at 2s though).
This evening I decided to shoot a hologram of a rose. I was pretty sure that I could keep the exposure short enough and we had a really pretty rose blooming in the garden.
I put it in a glass of ice water to slow it down and attached it to a clamp holder that I made for the occasion. I made two quick holograms but apparently they were too quick. They show some movement of the film (I was using the new film holder) but are nice and bright. I'll probably try again with the glass film holder when we have another rose available.
I was doing some cleaning today and I thought I'd post some pictures of my lab area.
The station has four quart size containers for rinse water. Since I don't have running water in my office, I use those for all but the last rinse step and I change out the water for every hologram. In front of the rinse buckets are the containers for developer, stop bath and bleach. I tend to leave the stop and bleach on the table (in covered containers of course) in between holograms since those solutions can be re-used and last quite a long time.
The latest version of the table with an ogham piece ready for shooting.
The new plate holder. It's made of two pieces of plexiglass with a hole cut in the center and painted black. I've also put silicone along one edge to act as a hinge and to absorb vibrations.
A close-up of the ogham with the new plate holder in place. I've got it tilted away from the plate holder so that I can get a good sense of the depth attainable with the new holder.
"For everyone in the U.S. I hope you had a good Independence Day weekend and for everyone else, I hope you just plain had a good weekend.
Myself, I had a holographic weekend.
Friday I spent puttering around the house with Wifey and preparing my lab for some serious shooting.
On Saturday a co-worker of hers, who once made holograms in Columbia, came by to spend the afternoon talking holography with us. He made a few holograms in college many years ago and is thinking about setting up a lab in his house. He's thinking about it even harder now.
Saturday morning I made a couple of test holograms with the new holder that some of you have heard about and in the later afternoon sent our friend away with an R2D2 hologram made while he was there. That night I made a simple single-beam hologram of a shell since I needed to use the last of four sheets I'd TEA'd that morning.
by using that master I'd be limiting the variables involved since I knew I could get bright images out of it.
I burned a couple of pieces of test film as time permitted and by the evening had made a copy that was easily twice as bright as the ones I'd made more than a decade ago.
This morning I shot one using film that had been reverse-curled for a few days and then index matched to a single glass plate with mineral oil .
The final hologram is almost too bright to look at in sunlight (it even leaves an afterimage on my vision when illuminated by the halogen light in my office). In fact, I can't get a picture of it with my new digital camera and I'll have to try again tonight with my older one (it seems to like holograms better than the new one).
If I didn't have a milestone due at work this Friday I would have taken a personal day off today, played with the copy layout and made some more copies. As it is, I'll have to be content with being blinded by this piece of plastic shining at me from the edge of my desk.
My thanks to everyone here who has helped me out over the last six months. It's largely because of your input that I've reached this point, this fast."
I made three more holograms this morning and I've been able to tweak the H2 plate so that the castle is closer to the film plane.
I've had some problems with the film moving during exposure and I'll either need to change my plate holder for these 40-60 second exposures or I'll need to start index matching. The first hologram showed movement rings, although with a 40 minute settle, the second was just fine (and nice and bright). I tried index matching with mineral oil on the third but the film separated from the glass near the bottom of the hologram. I still ended up with a bright clear hologram though.
One oddity is that the image looks enlarged on the H2. I believe I used a small collimating mirror in the creation of the master but at the moment I'm not using one to illuminate it. I'll add the 4" mirror to the setup tonight and see how that changes the image.
This morning I made four test shots of the castle master. With the first, I removed the cylinder lens and moved the copy holder to 7.5" from the master and used some film that had been TEA'd yesterday morning. The resulting hologram is a nice bright reddish-gold image that is reasonably sharp. This is easily the best hologram of the bunch and the morning.
For the remaining three shots I just moved the copy holder away from the master, 8", 8.75" and 9". The first shows slight movement of the image in front of the film and the last clearly has an image floating above the film.
My next test should be to increase the reference light intensity to see if that removes some of the remaining blur. I also need to test my meter to see if I can get any kind of reading on the master image. At the moment I can't and I'm just guessing when it comes to the ratio of ref to obj light. Visually, the image of the castle appears slightly brighter than the ref light on a white card placed in the copy holder.
o Decrease the H1 light intensity.
o Use the 4" collimating mirror to illuminate H1.
o Use the JD2 developer to see if the contrast changes. D-19 is considered by Benton to be a "low contrast" developer.
This is the castle I've been working on. This is also the first picture I've been able to get that does it any kind of justice (and not much). Unfortunately the film pulled away from the index-matching fluid and glass before exposure and I ended up with the bottom you see here.
After working with the castle all week I decided to try changing the setup to a pot and coin master I'd made 13 years ago. I had to change the layout a bit so the master was lit from below.
Here's a shot of the H1 image being projected onto a white card in the H2 holder. Some of you may realize that the H1 image is incorrect in that it's upside down relative to the reference beam. I ended up with an H2 image plane that had to be lit from below rather than above.
I didn't have a lot of time over the weekend, although I did mess with the pot and coins master a bit more. I wasn't able to get a satisfactory copy due to the gyrations I had to put the laser beam through so I decided to switch back to the castle and make a final H2 that I'm willing to show.
The second picture is there just to give you a sense of the brightness of this hologram. It's extremely bright although not that clean just because I didn't put the spatial filter into the setup. Actually, it was in there but I forgot to put the pinhole in.
as well as a white-light version. I was going to change the table setup to do a new master of the ogham piece but decided since I had everything I needed, I'd make a white-light transmission copy (I hadn't made that kind for more than 13 years).
The setup for the white-light copy.
And the final white-light transmission hologram.
Since the 15th I've been working on a model of an ogham standing stone. I thought this might be a good starting place to work on my model making skills, scene layout skills and possibly end up with a hologram master that I could use to make salable copies.
Left and right sides of my table, setup to shoot the first ogham master.
Overall view of the table. I've got my new 10mW HeNe on the right, beamsplitter directing the object beam toward the bottom, mirror shooting that off to the left, another mirror directing the beam through a microscope objective and onto the ogham. A transfer mirror in the upper right shoots the beam through a lens (it helps expand the beam more than my spatial filter will do alone), through my SF, through a cylinder lens to help shape the beam so I don't lose a ton of light in order to cover the plate evenly, off a collimating mirror and onto the plate.
Here's a view of the ogham model through the finished master.
and here's a shot of the master, flipped and illuminated by laser. What you see is a projection of the ogham that is in between the plate and the camera.
Because I wanted to test the process and this model I reset the table to copy the master I'd created yesterday.
right-side view of the table. Note that I have the spatial filter in the setup, but it's being used as part of the H1 beam.
Three quick tests of the setup and processing. The variation in color is due to the fact that I didn't have the spatial filter in the H2 beam and there were fairly wild variations in beam density across the plate. Still looks neat in real life, given the subject matter.
While shooting what would have been two bright copies (I put the spatial filter in the ref beam) my shutter failed to open. On the first exposure I thought that the developer was exhausted since it had been left over from this morning but after I made up a new batch and the second shot failed I realized that the shutter must not have opened. Upon checking I found that it wasn't working anymore.
I then set about making a new shutter and modifying the R2 program so that it checks that the shutter opened during the exposure. The new program also chirps every second for the last ten seconds of settling so that I know an exposure is imminent.
I did a quick test this morning using the new double-sided mounting film from Kapco. I cleaned a 4x5" piece of glass, removed one protective layer and applied the mounting film to one side of the glass. I then removed the second protective layer from the mounting film and rolled out a sheet of holographic film onto the mounting film.
With the holographic film in place I put the glass into my plateholder and told R2 to do a 10s exposure. Ten minutes later I had the plate soaking in the pre-dev bath and 15 minutes after that I had a fairly bright green hologram of my ogham stone. It's a bit overdeveloped because I had trouble removing the plate from the developer (I'm not set up for handling plates) and it ended up in the dev too long but it looks good and I can't tell that there's anything between the film and glass plate. This looks very promising. If my master test works out, this means that I'll be able to create masters on glass which in turn means that I won't have to go through the hassle of index matching and aligning my master film and I won't have to pay for plates (big savings). I'll be able to just drop the masters into the holder and go.
It didn't turn out very bright (and the camera focused on the tree behind the film), but here's the ogham done on film that's been adhered to glass.
I've been working on a test of the latest ogham model. The ogham is now sitting on a hill.
Closer view of the model with its white background (I haven't settled on a decent background but didn't want it floating in space). Also in view in the center of the picture is the light sensor I use to make sure the shutter opened. I just place it someplace on the table where stray light will hit it.
Close of view of my hideously expensive diffusion screen. The white part just to the right of the lens and to the left of the model is a piece of plastic from a milk container. It actually makes an excellent diffuser.
The spatial filter with a cylinder lens in front of it. I use the cylinder lens to shape the bean so that I don't lose as much light as I otherwise would.
The ogham, seen from the plate holder.
Today Susan and I worked on the ogham model and briefly worked on a face from Disert O Dea. We both need practice with faces so we dropped that for now and concentrated on the ogham piece.
It has some grass and twigs at the base to give it more of an Irish feel.
I later added a bit of cotton around the base for fog and will likely add a layer behind the model, once I can get hold of some metal screen so the cotton will stay in place.
Later in the evening I reset the layout because I'd been getting dim transmission images during my tests yesterday. I realized (while watching Pirates of the Caribbean, which is where I got the idea for using fog as a background for the model) that I hadn't double-checked the beams lengths. It turns out that the object beam was nearly 20" longer than the reference beam. Bad mojo.
Since the last update I've been preparing the way to make a final master of the ogham piece. On Tuesday night I cleaned a glass sheet and applied the Kapco material. This involved removing one of the protective plastic sheets and using a roller to roll out the laminate onto the glass. On Wednesday morning I applied the holographic film to the previously prepared glass using the same roller method.
On Wednesday night I checked the setup one last time and exposed the plate for 34 seconds. After processing I ended up with a nice bright transmission hologram of the latest ogham model.
Not content to wait until the morning, I reset the table for a transfer and shot a quick test. Unfortunately I'm not yet used to putting the new light sensor in my setups and R2 thought that the shutter had not opened and didn't close it at the end of the exposure.
On getting up this morning I prepped some film and shot a quick test. It came out a bit dim but the overall image and composition look good. I'm going to do a full copy tomorrow and see how things come out.


Jerusalem, Israel - 16 February 2010 - During an excavation in Jerusalem, flagstones from a 1500 year old street - following the same course as today's David Street in the Old City of Jerusalem - were exposed.
The find confirms the Madaba Map, an ancient mosaic map in a church in Jordan from the sixth-seventh century AD. The map depicts the Land of Israel during the Byzantine period, and shows that there was an entrance to Jerusalem from the west via a very large gate that led to a single, central thoroughfare.
Various evidence of the important buildings in Jerusalem that appear on the map already exists - for example, the Church of the Holy Sepulcher - but the large bustling street from the period when Jerusalem became a Christian city had not been discovered until now.
According to Dr. Ofer Sion, excavation director, "It is wonderful to see that David Street, which is teeming with so much life today, actually preserved the route of the noisy street from 1,500 years ago".
During the Middle Ages, a large building was constructed on the stone foundations of the Byzantine period. During the Mamluk period (13-14th centuries AD) elongated rooms, some vaulted, were built inside this structure, apparently used as shops and storerooms. Beneath this building, below the street that runs between David's Citadel and David Street and leads to the Armenian Quarter, is an enormous 5 meter deep cistern which supplied water to its occupants.
The artifacts that were discovered in the excavations include an abundance of pottery vessels and coins and five small square bronze weights that the shopkeepers used for weighing precious metals.


text:
Giraltovce ( Girált, ) jsou město na severovýchodním Slovensku, v Prešovském kraji. Žije zde  obyvatel.

Poloha
Město se nachází na levém břehu řeky Topľa, v Ondavské vrchovině, cca 23 km od Svidníku a cca 28 km od Prešova.

Historie
První písemná zmínka o městě je z roku 1383.

Galerie

Odkazy

Reference

Související články
 Seznam slovenských měst

Externí odkazy

Města na Slovensku
Obce v okrese Svidník
Města v regionu Šariš

redpajama_set_name: RedPajamaWikipedia


The true superhero movie king has risen, and he's not from Wakanda.
Aquaman has hit international theatres and Amazon Prime screenings with a vengeance, earning positive reviews and strong financial success. Clearly, Jason Momoa's aquatic rockstar is already a huge hit with audiences and for good reason. Boasting exceptional visuals, great performances, and an immense world you'll love getting lost in, Aquaman is an experience every moviegoer needs to see on the big screen.
Once audiences eventually see it, they may notice similarities between this movie and a certain MCU film from back in February. Specifically, the one where an ostracized character of royal blood goes to reclaim his place on the throne from the current parties in charge, who may or not have had something to do with the death of their parent. Both films have their shared elements and plot details, but that's not to discredit their quality, as well as their individuality.
Nevertheless, the analogous nature of the two films does warrant some comparison. And upon closer examination, Aquaman does come out ahead in more than a couple of ways. Digging into everything from each film's directing style to the strength of their finales, this list will break down those components of Aquaman that did right where Black Panther faltered.
Some may prefer one or the other, but these are qualities that go beyond any personal preference and serve to recognize what Aquaman is able to achieve when going up against one of this year's most talked-about movies.
In movies like these, it's all too easy to include as many characters as the creative team would like, even if some aren't entirely necessary. Whether it's comedic relief, an extra antagonist or someone whose only purpose is appearing in future movies, characters like these are almost always present in comic book movies. Everett Ross and even Nakia (for the most part) from Black Panther don't serve many purposes outside of stepping up in roles that could've easily been filled by someone else, like Shuri.
Refreshingly, none of Aquaman's established characters felt superfluous. From Willem Dafoe's Vulko to the still-important (even with a minor role) King Nereus, everyone has a clear role in the overarching plot. Since the story's kept relatively simple, the writers never overstuff the plot with unnecessary people that would only complicate things further.
Even those who have smaller roles, like Black Manta, have a role to play in both this film and a bigger one in the future. It helps give the film a polished feel, ensuring that no named characters are forgotten.


text:
import os
import sys
import shutil
import gme
import win32com.client

paradigm = "ESMoL"
if len( sys.argv ) >= 2 and sys.argv[ 1 ] == "CyPhyML":
    paradigm = "CyPhyML"

if not 'VCP_PATH' in os.environ or os.environ[ 'VCP_PATH' ] == '':
    print "VCP_PATH environment variable not set"
    print "Please set the VCP_PATH environment variable before running this program"
    sys.exit( 1 )

vcp_path = os.environ[ 'VCP_PATH' ]

meta_path = ''
if paradigm == "CyPhyML" and ( not 'META_PATH' in os.environ or os.environ[ 'META_PATH' ] == '' ):
    print "META_PATH environment variable not set and CyPhyML paradigm specified"
    print "If CyPhyML paradigm is specified, META_PATH environment variable must be set to trunk of CyPhyML code base to run this program"
    sys.exit( 1 )
else:
    meta_path = os.environ[ 'META_PATH' ]

destdir = vcp_path + r"\generated\SF_CodeGen\models\\" + paradigm
destfile = destdir + r"\ESM2SFC.mga"

if not os.path.exists( destdir ):
    os.makedirs( destdir )

# these output a file of the same name in the same directory
gme.xme2mga( vcp_path + r"\src\SF_CodeGen\models\ESM2SFC.xme", destfile )

if paradigm != "CyPhyML":
    print "\"" + paradigm + "\" paradigm specified:  no transform will be executed"
    sys.exit( 0 )

print "Executing transform ...",
sys.stdout.flush()

# change the metaname of the UML diagram
gme.mga2xme( meta_path + r"\generated\CyPhyML\models\CyPhyML_uml.mga" )
with file( meta_path + r"\generated\CyPhyML\models\CyPhyML_uml.xme", "rb" ) as xme:
    lines = xme.readlines()
with file( meta_path + r"\generated\CyPhyML\models\CyPhyML_uml.xme", "wb" ) as xme:
    for line in lines:
        xme.write(  line.replace( 'metaname="UML"', 'metaname="UMLModelTransformer"' )  )

mga = win32com.client.DispatchEx("Mga.MgaProject")
mga.Open( "MGA=" + destfile )

xme = win32com.client.DispatchEx("Mga.MgaParser")
xme.ParseProject(mga, meta_path + r"\generated\CyPhyML\models\CyPhyML_uml.xme")

mga.BeginTransactionInNewTerr()

def lookup( obj ):
    retval = dict()
    for object in obj.ChildObjects:
        if not object.Name in retval or hasattr( object, "Meta" ) and object.Meta.Name == "Namespace":
            retval[ object.Name ] = object
    return retval

def lookup_classObjects( obj, className ):
    retval = dict()
    for object in obj.ChildObjects:
        if object.Meta.Name != className:
            continue
        retval[ object.Name ] = object
    return retval

def getChildObjects( obj, className ):
    retval = []
    for object in obj.ChildObjects:
        if hasattr( object, "Meta" ) and object.Meta.Name == className:
            retval.append( object )
    return retval

models = lookup( mga.RootFolder )

namemap = {
    'Parameter'  : 'SF_Parameter',
    'Port'       : 'SF_Port',
    'Junction'   : 'SF_Junction',
    'Matrix'     : 'SF_Matrix',
    'TypeBase'   : 'SF_TypeBase',
    'ActionPort' : 'EnablePort',
}

def swap_ref( old_target, new_target ):
    for reference in old_target.ReferencedBy:
        reference.Referred = new_target

CyPhyML_classdiagram_map = lookup( models[ 'CyPhyML' ] )
signalflow_classdiagram_map = lookup(  CyPhyML_classdiagram_map[ 'SignalFlow' ]  )
esmol_classdiagram_map = lookup( models[ 'ESMoL' ] )
for classdiagram in ( 'Dataflow', 'Stateflow', 'Types' ):

    esmol_class_map  = lookup( esmol_classdiagram_map[ classdiagram ] )
    signalflow_class_map = lookup( signalflow_classdiagram_map[ classdiagram ] )

    for esmol_class_name, esmol_class in esmol_class_map.iteritems():

        if esmol_class.Meta.Name != 'Class':
            continue

        signalflow_class_name = esmol_class_name
        if esmol_class_name in namemap:
            signalflow_class_name = namemap[ esmol_class_name ]

        if signalflow_class_name in signalflow_class_map:
            signalflow_class = signalflow_class_map[ signalflow_class_name ]
            if signalflow_class.Meta.Name == 'Class':
                swap_ref( esmol_class, signalflow_class )

Stateflow_ClassDiagram_map = lookup( esmol_classdiagram_map[ 'Stateflow' ] )
Stateflow_Class = Stateflow_ClassDiagram_map[ 'Stateflow' ]

Dataflow_ClassDiagram_map = lookup(  signalflow_classdiagram_map[ 'Dataflow' ]  )
Block_Class = Dataflow_ClassDiagram_map[ 'Block' ]

swap_ref( Stateflow_Class, Block_Class )

Import_ClassDiagram_map = lookup( esmol_classdiagram_map[ 'Import' ] )
ModelsFolder_Class = Import_ClassDiagram_map[ 'ModelsFolder' ]

BehavioralModels_ClassDiagram_map = lookup( CyPhyML_classdiagram_map[ 'BehaviorModels' ] )
SignalFlowModel_Class = BehavioralModels_ClassDiagram_map[ 'SignalFlowModel' ]

swap_ref( ModelsFolder_Class, SignalFlowModel_Class )

_1_Component_ClassDiagram_map = lookup( CyPhyML_classdiagram_map[ '1_Component' ] )
Component_Class = _1_Component_ClassDiagram_map[ 'Component' ]

ComponentTypes_ClassDiagram_map = lookup( esmol_classdiagram_map[ 'ComponentTypes' ] )
DesignFolder_Class = ComponentTypes_ClassDiagram_map[ 'DesignFolder' ]

Folders_ClassDiagram_map = lookup( CyPhyML_classdiagram_map[ 'Folders' ] )
Components_Class = Folders_ClassDiagram_map[ 'Components' ]

swap_ref( DesignFolder_Class, Components_Class )

ESMoL_RootFolder_ClassDiagram_map = lookup( esmol_classdiagram_map[ 'zC_RootFolderCompositionSheet' ] )
ESMoL_RootFolder_Class = ESMoL_RootFolder_ClassDiagram_map[ 'RootFolder' ]

CyPhyML_RootFolder_ClassDiagram_map = lookup( CyPhyML_classdiagram_map[ 'zC_RootFolderCompositionSheet' ] )
CyPhyML_RootFolder_Class = CyPhyML_RootFolder_ClassDiagram_map[ 'RootFolder' ]

swap_ref( ESMoL_RootFolder_Class, CyPhyML_RootFolder_Class )

#
# START TRANSFORM MODIFICATION
#
ESM2SFC_Transform_map = lookup( models[ 'ESM2SFC' ] )

models[ 'ESMoL' ].DestroyObject()

#
# MODIFY ESM2SLC/GetSubsystems
#
TL_Block_map = lookup( ESM2SFC_Transform_map[ 'TL' ] )

CreateTypes_Block_map = lookup( TL_Block_map[ 'CreateTypes' ] )
GetTypes_Block_map = lookup( CreateTypes_Block_map[ 'GetTypes' ] )
GetContainer2_Rule = GetTypes_Block_map[ 'GetContainer2' ]
GetContainer2_Rule_map = lookup( GetContainer2_Rule )

ModelsFolder_ref = GetContainer2_Rule_map[ "ModelsFolder" ]
DesignFolder_ref = GetContainer2_Rule_map[ "DesignFolder" ]

ModelsFolder_ref_metaRole = ModelsFolder_ref.MetaRole

PatternComposition_metaRole = GetContainer2_Rule_map[ 'PatternComposition' ].MetaRole

Component_ref = GetContainer2_Rule.CreateReference( ModelsFolder_ref_metaRole, Component_Class )
Component_ref.Name = "Component"

for patternComposition in getChildObjects( GetContainer2_Rule, "PatternComposition" ):
    if ( patternComposition.Src == ModelsFolder_ref ):
        patternComposition.DestroyObject()
        break

GetContainer2_Rule.CreateSimplerConnDisp( PatternComposition_metaRole, ModelsFolder_ref, Component_ref )
GetContainer2_Rule.CreateSimplerConnDisp( PatternComposition_metaRole, Component_ref, DesignFolder_ref )

#HRESULT CreateSimpleConnDisp([in] IMgaMetaRole *meta, [in] IMgaFCO *Src, [in] IMgaFCO *Dst,
#[in] IMgaFCO *Srcref, [in] IMgaFCO *Dstref, [out, retval] IMgaFCO **newobj);
# newconn = model.CreateSimpleConnDisp(oldconn.Meta, , , None, None)

mga.Name = "ESM2SFC"
mga.RootFolder.Name = "ESM2SFC"
mga.CommitTransaction()

mga.Save( "MGA=" + destfile )

print "done."


For the Calgary Flames, the 09-10 season was akin to a ride on a rollercoaster. A season that started full of promise and hope ended as one mired in despair and regret. As one could reasonably expect after such a tumultuous ride, the fans of the team, lost and disheartened, sought guidance.
Direction came in the form of a now infamous post season press conference. Ken King, President of the Flames, revealed that the organization was in the process of hiring one or two people to assist Darryl Sutter, the GM of the team, with his duties. An 'Assistant GM' was on the way.
A draft and a free agency period later, nobody has been hired. This has led many in the fan base to question the motives of the announcement. Were the Flames lying to them, to get the heat off Darryl?
Relax Flames fans. The fact that a 'New Assistant GM' hasn't been hired isn't a reflection of the Flames administrations general disdain for the paying customer. It is actually a result of a simple clerical error. Instead of sending out the 'want ads' out to qualified candidates such as Kelly Kisio, a mail room mix-up scattered them to the four corners of the Earth. After much bribery and coercion, Domebeers managed to get a hold of the 'want ad'.
We now present it to FlamesNation.
The Calgary Flames Hockey Club is looking for qualified people to join our management team. We are world class organization, having captured the Stanley Cup in 1989. We would like to add great, knowledgeable people to our premiere organization; people who will contribute to the ongoing and continued success of the Calgary Flames.
Looking After The Ranch: During the season, Darryl Sutter will have to travel across the continent in order to scout and evaluate talent. Any prospective AGM will have to be prepared to plow Darryl's fields, feed Darryl's horses, milk Darryl's cows, and keep the varmints and the cattle thieves off the property.
Chauffeur: Darryl hasn't really gotten used to the horseless buggy yet. Because of this, any prospective AGM will have to be prepared to drive Darryl to the saloon in the morning, to the Saddledome in the afternoon, and back to the saloon after the games. Darryl doesn't like to drink alone, so be prepared to also chauffer his prized horse, Grit, around too.
Caddying: Due to the play of the team the last couple of years, Darryl Sutter has had plenty of time to acquire a taste for golf. As AGM you will be required to caddy for Darryl, holding his clubs and suggesting how to attack holes. Darryl will not listen to any of this advice. Any shot Darryl makes is because of his genius, and any shot he misses is because his idiot caddy gave him bad advice (of course, only 'casual fans' don't already realize this).
Pick Up And Delivery: Darryl Sutter is not a morning person. Hangovers will do that. As an AGM, you will be required to fetch Darryl's 'hair of the dog' whenever he asks. Liquor store isn't open? Grab a crowbar, buddy. Also, while not officially part of your duties as AGM, you will be asked to get Ken Kings very expensive coffee. You better do it. Ken Kings a big man.
Media Relations: Darryl Sutter has set a tone for this organization. As the AGM, you will be required to tow this line. Whenever a media member requests comment from Darryl, you will be required to spit in their face and slash their tires. If those know nothing idiots continue to pester Darryl, you will be required to come up with demeaning nicknames for Darryl to call them and their spouses.
Knowing Your Place: Darryl Sutter is a very busy man. As the AGM, you will be required to call his secretary whenever you need to get into contact with Darryl. Don't worry, he won't call you back.
Birthdays and Bar Mitzvahs: Several members of the Flames ownership and administration have young children. As AGM, you will be required to put on the clown suit and entertain them. It's not like you'd have any dignity left to lose at this point anyways, right?
While not required, it will help your application if your surname is Sutter.
We thank all applicants for their interest in joining the Calgary Flames management team, however, only those candidates selected for an interview will be contacted. No phone calls, please. That means you can stop calling anytime now, Mr. Francis.
Holy Crap…based on most of those requirements I think the Assistant GM will be from Edmonton!!!
I thought the cheap comedy was my job..
Lets face it though, an assistant GM would not make any difference for the club; more just for Darryl's quality of life.
Actually, I think an AGM will help Sutter to not be quiiite so hasty.
Let's put the Assistant GM issue to bed, although I thoroughly enjoyed what DomeBeers did.
On May 31st Rob Kerr reported that the Flames "technically" already have an Assistant General Manager. His name is Michael Holditch and up until January he held the title of VP of Hockey Operations. Since then he has been officially the AGM. Mike is apparently a "capologist" and handles a lot of the heavy loads with the contracts.
When Ken King said they would look at getting more help for Darryl, I think there were other areas of the hockey operations they had in mind…don't be surprised if they stop making Darryl available for media scrums and instead have a more "friendly" face take care of the Q & A.
Damn, although I call myself an Albertan, i wasnt born in Alberta, guess I'm out. But seriously, did anyone really feel that this was going to happen? If they do "hire" someone it will be most likely a token position. Because Darryl is always right.
apparently holditch was the guy holding the calculator when the team ran outta cap space in 08/09. ie: we need another guy to watch THAT guy.
Good one, Domebeers, my application is in the mail. I can juggle well enough for birthday parties, $150 and a quick police check and I'll be Sutter S. Sutter, and I'm sure I can figure out the cap better than Holditch just by punching stuff into Capgeek. Can't say I've ever mixed a milskey, but I make a mean caucasian, so I could probably generalize.
I think its always good to make this point; its not that we need an assistant GM, its that these guys LIE all the time, and think everyone else is stupid. It was a mistake to keep Darryl, they knew everyone would hate the idea, so they lie to us thinking that we'll just forget about it. Too bad we have a MUCH longer attention sp… uh, where did I leave my beer? What was I talking about again? Go Flames!
After this goes up, they hire an AGM. Crazy.
In light of the hiring your effort to create the ad looks like a colossal waste of time. I'm sure t won't deter your obsessive anti Darryl postings though.


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