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Un  est un genre de jeu vidéo de gestion qui se focalise sur la construction et la gestion d'une ville. Le genre trouve son origine dans des jeux de gestion sur ordinateur central, comme  (1968) et sa conversion en  Hamurabi (1978), et dans des jeux de stratégie comme Utopia (1982) de Don Daglow. C'est cependant  (1989) de Will Wright qui donne naissance au genre et le popularise. Celui-ci marque en effet le début d'une longue série de jeu  et entraîne la création de nombreuses adaptations de son concept, dont notamment  (1990),  (1991), Caesar (1992) et  (1993). Le genre se consolide ensuite avec la sortie de  et la poursuite de séries comme , Anno ou les jeux de gestion de cité d'Impressions Games.

Historique

Genèse
Bien qu'il s'agisse d'une simulation extrêmement limité, le jeu  est sans doute le premier jeu sur ordinateur se focalisant sur la construction et la gestion d'une ville. Celui-ci est programmé en FOCAL par Doug Dyment en 1968 sur un mini-ordinateur PDP-8 de la société . Il est converti en  quelques années plus tard par David H. Ahl sous le titre Hamurabi, le deuxième M du titre ayant été supprimé pour que le titre du programme respecte la limite de huit caractères. Dans celui-ci, le joueur est aux commandes de l'ancienne cité-état de Sumer. Il ne peut rien construire, mais il peut acheter et vendre des terrains, les cultiver et nourrir la population. L'objectif est de développer l'économie de la cité afin que sa population s'agrandisse. Le joueur peut être confronté aux rats ou à la peste, qui peut décimer son peuple, ainsi qu'aux révoltes s'il ne gère pas la cité correctement. Le jeu rencontre un certain succès et bénéficie de nombreuses adaptations, avec un cadre différent mais les mêmes mécanismes de base. Parmi ces dernières, la plus connue est peut-être le jeu sur Apple II  (1978) de George Blank, qui introduit la possibilité d'acheter et de construire différents types de bâtiments. Dans celui-ci, la plupart des éléments caractéristiques des  sont déjà présents, dont notamment les taxes, les bâtiments, les catastrophes naturelles, les évolutions du nombre d'habitants et de leur satisfaction, et même une carte du royaume qui est affiché à la fin de chaque tour. Il lui manque cependant encore un élément crucial du genre, la sensation de jouer à un jeu de construction plutôt qu'a une simple adaptation d'un jeu de plateau, et il faut attendre plusieurs années pour voir ce dernier ingrédient faire son apparition. Le genre continue cependant d'évoluer avec notamment le jeu Utopia (1982) de Don Daglow qui perfectionne le concept existant en y introduisant notamment le temps réel et une représentation graphique, alors que ses prédécesseurs se déroulent au tour par tour et sont principalement textuels. Contrairement à ces derniers, Utopia pousse ainsi le joueur à agir rapidement dans sa gestion de l'économie, des infrastructures, des catastrophes naturelles et des attaques ennemies.

SimCity

Le genre dans sa forme actuelle apparaît cependant par accident. Alors qu'il développe son premier jeu commercial, le   (1984), Will Wright constate que la conception des villes que survole le joueur avec son hélicoptère est en fait plus amusant que le jeu en lui-même. Il se lance alors dans des expérimentations pour améliorer son outil de création de villes. Il lui applique notamment diverses théories concernant la planification urbaine et y implémente diverses idées issues de ses lectures et en particulier du travail de Jay Wright Forrester sur la systémique. Après une année de développement, Will Wright en tire finalement un nouveau jeu, initialement baptisé Micropolis, mais aucun éditeur n'accepte de le publier. Avec Jeff Braun, il fonde donc Maxis et publie lui-même son jeu, rebaptisé , en 1989 sur Macintosh et Amiga, puis sur la plupart des autres ordinateurs et sur Super Nintendo.

 concrétise ainsi l'idée d'une simulation de construction de ville et pose les bases du genre des . Le joueur y incarne en même temps un maire, un urbaniste et un dieu et se voit confier une parcelle de terrains vides, dont la disposition sur une grille est générée de manière procédurale, et d'une palette d'outil de construction inspirée de MacPaint pour construire sa ville. Le jeu débute en 1900 et permet au joueur des zones résidentielles, commerciales ou industrielles qu'il doit relier à des centrales électriques pour les alimenter. Pour favoriser leur développement, il peut ensuite construire des postes de polices et de pompiers, des parcs, des stades, des routes, des voies ferrées, des ports et des aéroports. Il doit également gérer son budget, en définissant notamment le niveau de taxe, ainsi que le bonheur des habitants. Il peut enfin déclencher des catastrophes naturelles sur sa ville, comme des tremblements de terres, des inondations, des incendies, des tornades ou même l'apparition d'un monstre. Le jeu n'a pas d'objectif mais donne au joueur un système et des outils avec lesquels s'amuser. Il aide également à comprendre les contraintes de l'urbanisation en laissant le joueur mettre en pratique ses idées, puis constater si celles-ci fonctionnent ou non.  est une révolution pour l'industrie du jeu vidéo. Il est en effet l'un des premiers jeux de ce type à entrer dans la culture populaire et il est salué aussi bien par la presse traditionnelle, dont le  et le , que par la presse spécialisée.

Premières adaptations

Surfant sur le succès de , Maxis ne tarde pas à publier des sets de graphismes permettant de modifier l'apparence du jeu pour le transposer à d'autres époques historiques ou à des univers de fantasy ou de science-fiction. Ces derniers ne modifient cependant pas ses mécanismes de jeu, contrairement aux clones de  publiés dans les années suivantes.

Le studio  développe ainsi, avec l'aide de contractuels de la NASA, le jeu  (1990) qui reprend le principe de  en l'adaptant à la gestion réaliste d'une colonie lunaire. Dans celui-ci le joueur se voit confier la construction d'une colonie à la surface de la lune dont il doit notamment gérer l'approvisionnement en oxygène et en eau, le chauffage et le refroidissement tout en créant un assemblage de dortoirs, de laboratoires de recherche, de groupes électrogènes et d'autres bâtiment. Avec  (1991), le studio  propose une approche moins réaliste de la colonisation spatiale. Dans celui-ci, le joueur doit en effet construire une colonie sur de nouvelles planètes tout en luttant contre des extraterrestres. En plus de garantir l'approvisionnement en oxygène et en énergie, le joueur doit ainsi mettre sur pied une armée suffisamment forte pour défendre sa colonie. Contrairement à , celui-ci propose un enchaînement de missions, chacune d'elles mettant le joueur en compétition avec une nouvelle race d'extraterrestre.

Le studio  est ensuite le premier à adapter le concept de  à un contexte historique avec Caesar (1992). Dans celui-ci, le joueur incarne un gouverneur de la Rome antique qui tente de satisfaire l'empereur romain Auguste. Pour cela, il doit développer un réseau de route, de réservoir et de canaux dans une cité constituées de maisons, d'ateliers, de marchés, d'écoles, de théâtre et de thermes. Le jeu ne se contente cependant pas de proposer une version antique de . Il incorpore en effet un élément clé de la Rome antique, la guerre. Le joueur doit ainsi enrôler des plébéiens, afin de constituer une armée capable de défendre la cité contre les attaques barbares, qu'il doit payer, sous peine de les voir se révolter. De la même manière, il doit garantir le bonheur du peuple pour éviter les révoltes.  Le jeu se distingue également de  par son système de progression, qui voit le joueur être promu à la gestion d'une nouvelle ville lorsque la précédente est suffisamment développée. Il laisse ainsi moins de place que son modèle aux expérimentations, mais offre au joueur un moyen clair d'évaluer sa compétence.

Avec  (1993),  va encore plus loin en matière de progression avec un enchaînement de cinquante missions de difficulté croissante. Il propose également un genre de  très différent de ses prédécesseurs dans lequel l'urbanisme prend encore plus de sens. Les bâtiments ne sont en effets pas reliés entre-eux par des zones d'influences abstraites mais plutôt par les ressources qui transitent de l'un à l'autre via un réseau de routes. Ainsi, pour créer une arme, le joueur a besoin de matières premières comme le minerai de fer et le charbon, qui doivent être extraits de mines par des mineurs, qui doivent être nourris. Pour cela, le joueur doit donc produire du pain, ce qui nécessite de construire une ferme pour produire du grain, un moulin pour le transformer en farine et un puits pour produire l'eau devant être mélanger à celle-ci pour produire du pain. Comme dans Utopia, le joueur est également en compétition avec d'autres peuples et en développant sa cité, il finit par se confronter à ces derniers pour le contrôle du territoire. Il peut alors envoyer des soldats prendre d'assaut les bâtiments militaires ennemis.

Expérimentation et consolidation
Quatre ans après la sortie de , Will Wright revient au genre qu'il a créé avec  (1993). Conçu en collaboration avec Fred Haslam, celui-ci est dans la droite lignée de son prédécesseur mais y apporte de nombreuses améliorations. Sur le plan technique, le jeu propose ainsi une vue en perspective dimétrique, plutôt qu'une vue de dessus comme dans le premier volet. Il ajoute également de nouvelles dimensions à la simulation ainsi que de nouvelles fonctionnalités. Il supprime notamment le blocage des constructions à des zones de trois cases par trois, ce qui donne plus de liberté au joueur. Il intègre également la gestion des canalisations, du métro, des institutions éducatives, de l'arcologie et des prisons ainsi que de nouvelles sortes de centrales électriques. Il introduit enfin un journal qui informe le joueur des principaux problèmes que rencontre les habitants par l'intermédiaire de sondages, de faits divers et d'articles humoristiques. Le succès de  donne le ton à une décennie de forte croissance pour le genre qui voit apparaître de titres qui innovent ou consolide le genre. Le jeu est porté sur la plupart des consoles de l'époque, avec un succès mitigé, et pousse  à en produire une version simplifiée,  (1995), et à faire développer en externe le jeu  (1995). Dans le premier, le joueur est chargé de gérer une petite ville dans laquelle il peut ajouter des lacs, des prairies et des arbres et construire des trottoirs, des petites entreprises et des maisons. Dans le second, le joueur se voit confier la gestion d'une île tropicale dans laquelle le joueur recrute des agents qui agissent en tant qu'intermédiaire pour développer une ville, explorer la jungle ou réaliser des activités criminelles.

Après le succès de , le studio  tente sa chance dans le domaine des city-builder avec  (1994). Dans la lignée de , celui-ci charge le joueur de coloniser un monde extraterrestre pour sauver l'humanité après la destruction de la Terre par un astéroïde. A ce titre, le joueur est responsable de la gestion des ressources disponibles ainsi que de la recherche scientifique, avec pour objectif de développer de la vie dans ce nouveau monde en progressant dans un arbre technologique. Il sort cependant inachevé et buggé et ne connait donc qu'un succès limité malgré son concept innovant. Après Sierra, LucasArts tente également de se lancer dans les  avec  (1996) dans lequel le joueur doit construire un paradis et un enfer pour une civilisation extraterrestre et gérer les zones de récompense et de punition des âmes, inspirées des sept péchés capitaux. Le jeu échoue cependant à exécuter son concept intéressant et se révèle donc un échec. Avec  (1997),  innove de manière plus convaincante en mettant le joueur à la tête d'une société de construction dans une ville mal famé. Le jeu introduit en effet des éléments de stratégie en temps réel en permettant au joueur de contrôler directement ses employés, qu'il peut envoyer sur des chantiers mais aussi en missions pour déstabiliser ses concurrents. S'il est salué pour son humour, le jeu souffre de ses missions répétitives et de sa micro-gestion vite lassante et il passe relativement inaperçu.

Toujours dans le domaine des hybrides entre  et jeu de stratégie en temps réel, les années 1990 voient l'apparition de la série Anno avec Anno 1602 (1998). Dans celui-ci, le joueur est chargé de développer des colonies sur de petites îles, puis de les relier par des routes commerciales maritimes. S'il ressemble à  sur l'aspect de construction d'une colonie, il s'en distingue en mettant l'accent sur l'exploration et le commerce, avec également un aspect militaire. Ce focus sur l'aspect économique en fait bien plus qu'un simple , mais il offre néanmoins une variation intéressante sur le sujet de la construction d'une colonie. Dans ce domaine, il ne fait cependant pas aussi bien que  (1996), qui perfectionne le concept introduit dans  avec notamment l'ajout de nouveaux bâtiments et d'une très bonne campagne. Il évite de plus l'écueil de sa suite,  (1998) dans lequel l'importance accru de l'aspect militaire se fait au détriment de son système de collecte et de transport des ressources. En parallèle,  poursuit sur sa lancée avec les deux suites de Caesar, Caesar II (1995) et Caesar III (1998). Outre d'importantes améliorations technique, notamment des graphismes et de l'interface, la première ajoute de nouveaux bâtiments, des passants se promenant sur les routes, un mode combats et une option permettant d'envahir des colonies ennemies. De son côté, la seconde donne encore un peu plus de vie à la simulation en dotant les passants d'une certaines intelligence qui leur permet de réévaluer leurs tâches et leurs destinations. Elle ajoute également un niveau de complexité supplémentaire avec la gestion de la religion, le joueur honorer cinq dieux différents en organisant des festivités et en construisant des temples. Impressions continue ensuite d'améliorer le moteur de jeu de Caesar III sur lequel le studio s'appuie pour développer deux nouveaux jeux suivant les mêmes principes mais dans un cadre différent, avec les jeux Pharaon (1999) and Le Maître de l'Olympe : Zeus (2000), qui sont eux aussi salués par la presse spécialisée.

Nouveau souffle
Après presque six ans d'attente, Maxis publie le troisième ,  (1999) qui marque le passage de la série à la 3D. Avec ses graphismes et ses animations, qui donne vie aux villes qu'il permet de construire, celui-ci fait forte impression et connait un succès critique et commercial, avec plus de cinq millions d'exemplaires vendus dans le monde. Outre l'amélioration des graphismes, celui-ci apporte de nouvelles fonctionnalités, dont notamment la possibilité de nouer des accords commerciaux, par exemple pour revendre les excédents d'eau ou d'électricité, et l'apparition de pétitionnaires susceptible de réclamer des changements de politique. Malgré ces améliorations, le jeu constitue néanmoins un retour en arrière sur certains aspects. Ainsi, le journal introduit dans  disparait en faveur d'un téléscripteur dont le défilement ininterrompu ne donne pas au joueur le temps de lire certains messages. De plus, alors que  est bien pensé et équilibré, ce troisième volet part dans toutes les directions et souffre de nombreux problèmes. Les outils de terrain deviennent ainsi frustrants à utiliser, la gestion de l'eau devient encore plus gênante, le système de zone se voit inutilement doté d'un niveau supplémentaire, les options de constructions de monuments historiques et de gestion des déchets sont inachevés et les conseillers du joueur se contredisent en permanence.

À l'inverse de son prédécesseur,  échoue ainsi à insuffler un nouveau souffle au genre et se voit sur ce point surpassé par le jeu d'un nouveau studio, . Avec Tropico (2001), ce dernier propose en effet une simulation de république bananière, qui met le joueur dans la peau d'un dictateur d'une île tropicale fictive et aborde des thématiques inédites dans le genre comme la fraude électorale et la politique internationale. Celui-ci se déroule en effet pendant la guerre froide et nécessite donc de gérer les relations avec les deux superpuissances mondiales, afin d'obtenir leur soutien et d'éviter d'être renversé. Son véritable point fort réside cependant dans son humour noir, avec un dictateur qui est moqué quelle que soit la politique choisie et la nécessité de gérer des paramètres tels que la propagande, les rivalités politiques, la corruption ou les assassinats. Tropico connait ainsi un certain succès qui donne naissance à une franchisse florissant, comptant notamment cinq suites qui revisitent la formule du premier volet avec plus ou moins de changement. Le deuxième volet de la série, Tropico 2 : La Baie des pirates (2003), transpose ainsi le jeu dans une île pirate entre autres peuplés des prisonniers capturés pendant des raids. Les développeurs du studio Haemimont Games reprennent ensuite la série en 2009 et reviennent aux racines de la série avec Tropico 3 (2009) qui bénéficie notamment d'un nouveau moteur 3D.  Tropico 4 (2011) introduit ensuite une campagne narrative et des catastrophes naturelles, et Tropico 5 (2014) une plus grande variété de style en permettant au joueur de choisir entre plusieurs époques dont la colonisation, la Première Guerre mondiale, la guerre froide et la chute de l'URSS. Ce dernier tente également de donner une nouvelle orientation à la série, en y ajoutant des aspects d'exploration et de commerce comme dans la série Anno. Cette dernière continue d'ailleurs de se développer avec au total cinq épisodes, dont Anno 2070 (2011) qui se déroule dans le futur, et plusieurs jeux dérivés.

Déclin et retour aux sources
Alors que l'activité communautaire sur  commence à décliner, Maxis publie le quatrième volet de la série ,  (2003), qui va encore plus loin dans le réalisme et la complexité. Avant même son extension , celui-ci incorpore en effet la micro-gestion du trafic routier et des transports publics qui permet au joueur de visualiser les trajets effectués par les habitants pour se rendre au travail. D'autres nouveautés font également leur apparition dont les cycles jour / nuit, la possibilité de construire sur un terrain en pente, l'ajout des zones agricoles, les régions, une gestion plus détaillée du financement des bâtiments spéciaux, différents niveaux de richesse pour chaque zone avec une évolution plus réalistes et cohérente de celles-ci ainsi qu'un mode  qui utilise les villes construites pour proposer une version très simplifiée de . La simulation devient ainsi moins accessible aux débutants mais aussi plus riche en matière de planification et de gestion. Ainsi, malgré quelques limitations,  permet de construire n'importe quelle ville imaginable et, avec l'ajout de certains mods, de recréer des villes existantes ou de construire une ville sur Mars.

La profondeur de la simulation mène cependant la série dans une impasse et l'éditeur du jeu, , décide de recruter les développeurs de , auteurs de Immortal Cities : Les Enfants du Nil (2004) et Caesar IV (2006), pour essayer quelque chose de différent. Ces derniers développent alors SimCity Sociétés (2007) qui revient à la source de la série tout en proposant une approche totalement différente. Celui-ci met en effet le  de la ville (la manière dont elle est vue est ressentie) au centre du , chaque bâtiment ou décoration construit ayant un impact sur six valeurs sociétales  qui influent sur la ville et ses habitants. Du fait de problème technique et du manque de connexion entre ces valeurs et le bonheur des habitants, le jeu est un échec critique et commercial, mais il réussit néanmoins à montrer que le genre peut encore évoluer. Dans les années qui suivent, le studio Monte Cristo tente de récupérer la place, laissé vacante par , en proposant un  facile à prendre en main,  (2009). Ni celui-ci, ni les deux suites développées par  ne parviennent cependant à laisser leur marque sur le genre, probablement à cause de leur manque d'intérêt et d'humour.

Après dix ans sans nouveau ,  revient finalement au genre avec  (2013). Dès sa sortie,  est cependant fortement critiqué pour avoir introduit la nécessité d'être connecté à Internet pour y jouer, bien qu'il s'agisse d'un jeu solo, pour les promesses non tenues du jeu et pour les problèmes de serveur, qui prennent plusieurs mois à être corrigé. Le jeu pêche de plus par ses limitations puisque, contrairement à  qui permet de créer des villes entières, l'espace y est trop limité et ne permet de créer qu'un quartier ou un arrondissement. Le jeu innove pourtant avec sa modélisation en mode agent, qui permet au joueur de suivre absolument tous les flux (habitants, eau, électricité…) en temps réel. Mais cette fonctionnalité est finalement mal exploitée, les habitants apparaissant et disparaissant chaque jour en tant que personnes totalement différentes et leur intelligence artificielle étant trop limitée. Les problèmes rencontrés par ce cinquième volet ouvrent une brèche sur le marché des  qui est exploité par le studio , les développeurs de la série , qui s'inspirent de  et  pour créer  (2015) qui évite les écueils rencontrés par son concurrent. Il permet en effet de jouer hors ligne, propose de grandes parcelles pour développer des villes, des systèmes de transport en commun et une modélisation en mode agent qui, contrairement à celle de , est correctement exploité. Les développeurs maintiennent de plus de fortes interactions avec la communauté et soutiennent fortement les , qui permettent d'élargir le périmètre du jeu, au départ focalisé sur les villes américaines.

Liste de jeux

Références

Genre de jeux vidéo


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Barni was the mascot of the event, he was the main promotional tool of the Championship. His name comes from Barna and was designed by the workshop Dortoka.
1 Stanislav Emelyanov of Russia originally won the 20 km walk gold medal with a time of 1:20:10, but he was disqualified in 2014 after he tested positive for drugs.
2 Andrei Mikhnevich of Belarus originally won the gold medal in 21.01 m, but were disqualified in 2013 (all his results starting from the 2005 World Championships were canceled).
The women's medal standings were particularly badly affected by post race doping controversies. The following medals were revoked years after the event for doping cases, and assigned to the athletes who followed in the ranking.
Živilė Balčiūnaitė (LIT) won the Marathon, but was disqualified for doping after testing positive for testosterone.
Nailiya Yulamanova (RUS) came second in the Marathon, and was set to be upgraded to gold winner after Živilė Balčiūnaitė was disqualified. However, in July 2012, Yulamanova was also disqualified for doping, and her results from 20 August 2009 onwards were annulled due to abnormalities in her biological passport profile.
Mariya Savinova (RUS) won the 800 metres but was disqualified in 2017 for doping, and her result annulled.
† = Totals following the removal of José Luis Blanco bronze medal in the steeplechase due to positive doping test.
†2 = Totals following the removal of Nailya Yulamanova gold medal in the marathon due to positive doping test.
†3 = Totals following the removal of Andrei Mikhnevich gold medal in the shot put due to positive doping test.
†4 = Totals following the disqualification of Marta Domínguez.
^ "Barcelona 2010 set to take off with highest ever athlete participation". European Athletic Association. Archived from the original on 22 July 2010. Retrieved 27 July 2010.
^ "List of athletes currently serving a period of ineligibility as a result of an Anti-Doping Rule Violation under IAAF Rules as at: 28.07.14". IAAF. 28 July 2014. Retrieved 31 July 2014.
^ "20th European championships 2010 - women". run123.one. 5 April 2011. Retrieved 27 August 2018.
^ IAAF Newsletter Ed. 119 Archived 2011-03-03 at the Wayback Machine. IAAF (2011-01-25). Retrieved on 2011-01-25.
^ "Marta Domínguez Banned for 3 Years by the Court of Arbitration for Sport (CAS)" (PDF) (Press release). Court of Arbitration for Sport. November 19, 2015. Archived from the original (PDF) on November 28, 2015. Retrieved 2015-11-19.
Wikimedia Commons has media related to 2010 European Championships in Athletics.


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SMOK is well-known for producing cheap vape tanks that pump out the clouds and also look amazing! The SMOK TFV12 Prince Cobra Edition is no exception to this rule with its stylish design and powerful coil heads. The Prince Strip coil can handle 100 watts of power and features a huge 7ml to 8ml eliquid capacity.
It measures 25mm's tall by 28mm's at its widest point. This makes the SMOK TFV12 Prince Cobra Edition sub-ohm tank relatively slim and easy to carry around. Made from stainless steel and Pyrex glass, the SMOK TFV12 Prince Cobra Edition also comes in a variety of colors that includes black, gold, green, purple, red, blue, rainbow and stainless steel.
Next up on our cheap vape tanks countdown is the Hellbeast Sub-Ohm tank by Hellvape. The Hellbeast is a hybrid sub-ohm tank that utilizes cross-coil compatibility. It features an awesome Hellvape design and gold flaked drip tip!
The Hellbeast is made from durable stainless steel and features a Pyrex glass tank for added strength. If you don't want to use the Hellbeast coils, you can also use SMOK Baby Beast, Vaporesso GT, and Nautilus V2 coils. There is an MTL airflow setting that's fun to play around with. The available colors include gold, black, gunmetal grey, chrome, rainbow, blue, purple and matte black.
The Vsticking VMesh utilizes the widely popular mesh coil technology to help boost its sub-ohm tank flavor and vapor production. This cheap vape tank. measures in at 27mm's from its base and 29mms at its widest point. This makes the VSticking VMesh a compact little tank that punches well above its weight.
Refilling the 4mm tank is easy via the classic threaded top fill system. Utilizing dual adjustable bottom airflow slots, the Vsticking VMesh takes vapor production to an entirely new level! It's available in black, gunmetal grey and a stainless steel finish that looks fantastic!
This product proves that you don't always have to pay a fortune to get a good, cheap vape tank from a reputable brand. The Vaporesso SKRR sub-ohm tank is a best-seller that features an exciting new QF Air Distribution System. This system is designed to boost airflow throughout the coil and reduce spit back. As a result, you will get more flavor and bigger clouds.
The Vaporesso SKRR sub-ohm tank is 30mm's wide by 60mm's high. It holds a massive 8mls of eliquid that can be filled via an easy to use top slide lid. The Vaporesso coils that come with this kit contain a flax fiber and cotton combination. This will have you vaping even longer than before. The Vaporesso SKRR sub-ohm tank is available in red, blue, black, green, gold, stainless steel and rainbow.
If you're looking for cheap vape tanks that support high-wattage mesh coils, then the Lux 200 by Coil Art is the sub-ohm tank for you! The Coil Art Lux 200 uses custom M Series coils that can handle some serious heat. The recommended wattage for the Lux 200 is between 50-90 watts. That's amazing for a mesh coil and wow did I mention the flavor output!
The Coil Art Lux 200 sub-ohm tank has a base size of 24.5mm's, width of 29mm's, and is 49mm's tall. The design of this thing is absolutely beautiful. The faux marble resin body and 13mm wide 810 bore resin drip tip will look fantastic on any mod. It also comes with a stainless steel 510 threading and gold plated contact. The Coil Art Lux 200 mesh sub-ohm tank is available in white, red, blue, green and black.
Next on our list of awesome cheap vape tanks is the Owl by Advken. The Owl sub-ohm tank is extremely versatile and is compatible with a variety of different coils including the SMOK TFV8 Baby Beast and the Vaporesso NRG. Standing at 38.5mm's high by 30mm's wide, this thing is compact but chunky.
I've personally loved this product as its easy to operate and performs superbly. Vapers can choose from either the 4ml bubble tank or the standard slim 3ml tank. Featuring a simple slide fill design and top airflow which will prevent any leakages. You can choose from either the matte black or stainless steel version.
This sub-ohm tank has decades of design and engineering enclosed within. The Project Sub-Ohm Edition Uwell Crown 4 comes standard with two 0.23-ohm FeCrAl Mesh UN2 coils. The Crown 4 has a great 4ml eliquid capacity and measures 24.5mm's at its base by 26mm's at its widest point. One notable feature has to be the new plus and pull coil replacement.
Vaping has never been easier than with the Project Sub-Ohm Edition Uwell Crown 4. Boasting a wicked laser etched design and made from high-quality stainless steel/Pyrex glass. Available in Project Sub-Ohm special edition blue & black color schemes. This is one cheap vape tank that you must add to your regular vape rotation.
Last but not least on our cheap vape tanks list is the Bolt mesh sub-ohm tank by CKS. The CKS Bolt comes with either a 6ml or 4ml eliquid capacity, depending on your preferred tube size. It also features new mesh coils which will aid in your vapor and flavor production.
You get the option between a 0.15-ohm, 0.2-ohm double or a 0.15-ohm triple mesh coil head rated at 80 to 100 watts. This thing is made for high temperatures. At the bottom of the tank is your adjustable airflow that I recommend opening all the way. The CKS Bolt 25mm mesh sub-ohm tank is available in black or gold.
Comment down below which cheap vape tanks you would like to check out. We would love to hear from you.


New movies reviewed in 7 words each.
Just Wright - Something so Wright, is just so wrong.
Letters to Juliet - Seriously, haven't we seen enough Amanda Seyfried?
Princess Kaiulani (limited) - Is this a Lilo and Stitch prequel?
Robin Hood - I'll watch, but with a critical eye.
I mentioned it earlier this week that I was a Robin Hood geek as a child. Well, that carried over somewhat into adulthood. I'm very protective of the story. I don't like the dynamics being messed with. I can't say for sure whether or not this will be good or not. I know I heard early horror stories about the various plots they wanted to write. From the trailers it doesn't look like any of those have been carried out (mercifully) but I'm still unsure about it. For 1 it's Robin Hood, so why does it look boring? For 2, it's Ridley Scott, which to me actually explains 1. Ridley Scott doesn't exactly thrill me as he has others. I find mostly what he makes to be dull movies. Not necessarily bad, just boring.
Oh and 3, I used to like Russell Crowe a lot. Back when he did Virtuosity, I thought he was the coolest and had hopes of him being a favorite of mine for years to come. Unfortunately he Russell Crowed himself. A really terrible way to go. Bit by bit in his Oscar madness he tore away till all that remained was as boring as Ridley Scott. On the other hand I still love him in several roles, so maybe this will be his rebirth. Maybe Robin Hood will be an awesome movie.
I doubt it, but we must entertain these hopes.
I believe I've said this a time or two before, but let me say it again: What the heck is with Amanda Seyfried being in everything? Hasn't she ever heard of oversaturation? Seems like half the movies this year have been either been based on a Nicholas Sparks novel, or else starring her. Sometimes both. I didn't really care for her before, but she didn't get in the way of me watching films before. Now though, if I see her name, I rethink the idea of viewing the movie in question. You think I'm kidding? As I was writing this I looked up at the TV for one second and saw the ad for her new movie. I don't care what you say, it's a personal thing against me.
Anyone seen Charlie Bartlett? It's a movie from 2007 that I hadn't seen till this year. It stars Anton Yelchin as mixed up kid who starts selling second hand psych drugs and advice to kids at his new school. Throw in Robert Downey Jr., Kat Denning, and Hope Davis, and you have a great cast that delivers a fantastically funny and dramatic movie. It's a great character driven film that really allows you to see each character grow with their own arc. It's another one of those movies I'd meant to watch when it came out and then totally forgot. If you haven't seen it, I highly recommend it. 8 out of 10.
I just want to remind everyone that I have the "blog of the week" section. Each week a great blog is highlighted. If you have a chance, check out the blog in question. Follow, maybe say hello from me. My goal is to feature each and everyone of the blogs I love reading.
I'm glad to say that flood week is over here on The Non-Review. But it's still a reality that many are dealing with in this state. The effects are going to last for quite some time. So I do ask you all to continue to pray for those who have been hit hard. It's a disaster on the scale of Katrina, but without the coverage in the national news. So please keep everyone in your thoughts, and if you're feeling generous, maybe make a donation to The Red Cross, who have been doing a great job helping flood victims.
As for me, I'm done this week. Hope sunny skies are in your weekend's forecast cause it's raining again off and on here. Something we most definitely don't need.
Thanks for the reminder on Charlie Bartlett, I had also meant to watch it and then...well you know I got distracted. I also fear for Robin Hood, not quite sure if I'll just wait for the video. It's one story I don't want to see bastardized. Thanks for the reviews and hope your rain stops...however I fear you may be getting soon what we have in Dallas today. Stay dry!
Hold tight buddy! I'll be back to comment on this soon. ~7~ is my favorite feature of the Non Review, and boy do I have a lot to say about this one...I actually already did. But then Cow came home and well, there is a reason that expression is so popular... Cow is never home, ever. But he's been rained out on the farm (you know how that is) and I got so excited to see him that I Xed out of here before hitting publish.
I'm not over the moon about any of it, as you can imagine, but then again, neither is Cow.
Charlie Bartlett, LOVED IT. Good rating.
For as much hype as I heard about Robin Hood 6 months ago, I haven't heard anything lately. I didn't even realize that it was coming out today.
thanks for reminding me that I wanted to see Charlie Bartlett but forgot about it.
I love Charlie Bartlett. Anton Yelchin + Kat Dennings + Robert Downey Jr = definite win.
I like these child actor on the cusp of puberty type movies.
You might think this is ridiculous, but I really liked the Kevin Costner version of Robin Hood and I thought that Alan Rickman made a great Sheriff of Nottingham. I'm not a Ridley Scott fan either and find his movies dull as well. I will wait for DVD to see this new one.
Completely agreed about Amanda Seyfried. This chick played a dumb blonde in Mean Girls and now she's in everything. Makes no sense.
I'm glad to hear that Charlie Bartlett is a good flick. I've heard of it before, just never seen it.
My thoughts are definitely with you as Nashville recovers from the flood.
P.S. I'm glad you saw that I gave you the award. Your blog is cool, I thought the award was cool. You definitely deserve it!
I've never seen a Robin Hood that I didn't like, so I'm with you on this one. Holding my breath, hoping that it doesn't find some strange way to ruin it. Because they would have to do something really strange. It's Robin Hood. How can you screw that up? But maybe if Robin shot lima beans instead of arrows, and Marion was 98 years old, then it might be a bit more of a struggle. But I bet I'd still like it.
I think I'm getting sick of seeing Amanda Seyfried in everything, too.
I am not sure the new Robin Hood will be very good. Which is sad because most Robin Hood movies are a thumbs up. This whole weekend I was watching Robin Hood Men in Tights. Still cracks me up 1 million views later.
I do know there are actually dvd/vcr players. Are there any players which will play both of dvd and blu-rays that I can purchase instead of getting 2 separate players?


text:
Youtube Trends
#Throwback: Did you know Karisma Kapoor wanted to be a part of grandfather Raj Kapoor's film Henna?
by Sanjay Kumar · May 7, 2020
Karisma Kapoor was keen to be a part of her grandfather Raj Kapoor's movie Henna that was released in 1991. However, she could not be a part of the same due to a particular reason. Read on to know why.
Pinkvilla Desk
Published: May 7, 2020 12:44 am
The Bollywood film industry lost a true gem a few days back as veteran actor Rishi Kapoor left for his heavenly abode on 30th April 2020. He had acted in multiple hit movies in the course of his career including the 1991 romantic drama Henna which was directed by his father Raj Kapoor. But did you know the latter's granddaughter Karisma Kapoor wanted to act in the movie? For the unversed, Karisma made her debut in Bollywood with Prem Qaidi in the same year.
However, she wanted to be a part of her grandfather's movie Henna. But the issue was that the lead hero in the romantic drama was none other than her own uncle Rishi Kapoor himself. This would have led to multiple gossips about a niece working with her uncle which would have not proved right for both the actors. This is the reason why Karisma never became a part of Henna which was later directed by her father Randhir Kapoor after Raj Kapoor's demise.
(ALSO READ: Karisma Kapoor shares rare 70s and 90s photos of Rishi Kapoor as she remembers the late actor; Take a look)
This fact has been revealed by Karisma in one of her interviews in which she spoke about how she would have loved to work in Henna but it did not work out as the movie featured her 'chacha' Rishi Kapoor. For the unversed, Raj Kapoor passed away when Henna's shooting was still in progress. This is the reason why his son Randhir Kapoor took up the movie's direction post that and released it later in 1991. Needless to say, it was a huge commercial success.
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redpajama_set_name: RedPajamaCommonCrawl


Home / Food / What is a "Food and Wine Culture"?
It is something we often talk about at FOED and aspire to, but what is it really? Aren't we doing that now just by eating local food?
I think the answer is No. It's much more.
Maybe it is a European thing, but certainly the model is entrenched in French society, for example. Their passion and lifestyle for beautiful things and taking pleasure in food and wine every day, is worthy of a closer look.
A is for Attitude: Caring about what you put in your mouth, seeking fresh foods from the producer's market, and looking forward to the experience. Plan and match the meal, wines and context.
E is for Experience: Food and wine are meant to be enjoyed; understanding and having a concept of quality is paramount. Be informed, read the wine label!
S is for Sharing: Discuss, exchange opinions with your companions, evaluate, and compare experiences. It starts at the family dinner table.
E is for Etiquette: Appreciate and be thankful to the many people involved, and whose work and skills have brought such fine fare to your table.
Tonight, at the end of each course, I will be asking for volunteers to talk about their experience. They will receive a bottle of wine for their courage!
 'Match'– as in pairing, being compatible. One can cause the other to almost disappear, or, preferably, they can enhance each other.
 'Context'– refers to who you are with, the location and the occasion. They all influence the appropriate food and wine choices.
 'Quality'– is about persistence of flavour, as opposed to "short", where there is an initial impression and then nothing! Wine is best eaten like food. People who "drink" wine miss a lot of what wine has to offer.


Fraud report and Class Action | ICO Rebglo (PreICO) | REB token.
Rebooting The Global Economy Through Energy Circulation. The Rebglo project seeks to address and improve on current cryptocurrency mining inefficiencies with a combination of software and hardware solutions. The Rebglo project is driven by the Rebglo token, an ERC-20 Token nestled on the Ethereum Block Chain. A total supply of 10 billion Rebglo tokens will be issued. Rebglo's HETTARER is currently in production and will be ready to be delivered for global sales. The HETTARER technology improves battery life by 300 per cent and reduces charging times by 50 per cent. The integration of HETTARER technology into the L2 system is currently underway and should be ready for launch, together with the L2 system, in the coming months. Currently, REBGLO's software mining enhancement solutions are already completed and poised to be rolled out for implementation on the mining farms. Mining efficiency has been benchmarked to improve by 17.2 per cent with the introduction of Data Transmission Technology. REBGLO's L2 Optimized Mining solutions are currently under development and will be available exclusively to REBGLO mining farms in the near future. Current beta system tests have also proven that the L2 system will improve the mining hash rate efficiency by 160 per cent.
About Rebglo The Rebglo project seeks to address and improve on current cryptocurrency mining inefficiencies with a combination of software and hardware solutions. The Rebglo project is driven by the Rebglo token, an ERC-20 Token nestled on the Ethereum Block Chain. A total supply of 10 billion Rebglo tokens will be issued. Rebglo's HETTARER is currently in production and will be ready to be delivered for global sales. The HETTARER technology improves battery life by 300 per cent and reduces charging times by 50 per cent. The integration of HETTARER technology into the L2 system is currently underway and should be ready for launch, together with the L2 system, in the coming months. Currently, REBGLO's software mining enhancement solutions are already completed and poised to be rolled out for implementation on the mining farms. Mining efficiency has been benchmarked to improve by 17.2 per cent with the introduction of Data Transmission Technology. REBGLO's L2 Optimized Mining solutions are currently under development and will be available exclusively to REBGLO mining farms in the near future. Current beta system tests have also proven that the L2 system will improve the mining hash rate efficiency by 160 per cent. To power its operations, REBGLO will issue the REBGLO (REB) tokenon Ethereum as an ERC20 token. Smart contracts will automatically connect to a centralized system for HETTARER distribution to protect and maintain the REBGLO token holder privacy and deliver HETTARER to our token holders. The creation of REBGLO & HETTARER was based on trying to solve the ever-growing & fast-paced economy through energy conservation. Based on speed-up of innovative circulation, we develop the proposals of energy environment, the approach to real economy and new lifestyle in world.


Learn a new skill with a meaningful outcome – make your own wedding rings. From a simple band to something more detailed – feel free to come with ideas for designs.
Option to use etching to create detailed patterns (these need to be arranged in advance due to the process used).
A pair of simple wedding bands can be made in a day, with individual workshops per couple for one-to-two tuition. Prices start from £150 for a one day workshop (materials are extra as it depends what metal you're using).
More detailed designs will take longer to make (two day workshops are available for £300). Contact me to discuss your ideas and we can work out the details!
Rings can also be made to commission if you don't fancy making them yourself.
Hen Parties With A Difference!
Planning a Hen Party? Got a 'crafty' hen, or maybe just fancy something a bit different?
Have fun and make a lasting memento of the big day. Half-day workshops for you to make beautiful silver jewellery for you and your hens – the perfect bridesmaid thank you gift. All materials are provided including silver and beads (please let me know if you require a specific range of colours for beads). You will have the choice to make either a silver pendant on a choice of chain, or a bangle with charms.
You're welcome to bring party nibbles and soft drinks (and maybe some bubbles for the end of the day!). I will provide plates / glasses / napkins etc. (unless of course you would like to use your own).
Alternatively for an extra £25 per booking I'll do the work for you and provide yummy cakes and nibbles, and drinks to keep you refreshed while you make your masterpieces! An iPod dock is available for you to bring your own hen tunes.
Parties cost £65 per person, with a minimum of 3 hens and a maximum of 6.
Thank the Dads, best man and ushers in style, with a thoughtful, handcrafted gift. Contact me for more details of bespoke cufflinks and tie-pins – can be personalized.


text:
UKAT Rolling Out New Learning Management System Canvas
By Ashley Tabb
(June 25, 2015) — University of Kentucky Analytics and Technologies (UKAT) has reached an agreement to roll out Canvas by Instructure over the next year as the university's new learning management system (LMS) for faculty and students.
Over the last four years, UK faculty, students and staff have provided feedback and usability preferences for a "next generation" learning management system. They worked in depth with UKAT's e-Learning Team to review the existing and future state of the current UK LMS, Blackboard Learn, while exploring other systems through small working groups, pilots and a faculty-led LMS review committee.
During a request for proposal process earlier this year, several vendors proposed systems to meet those expressed campus needs. Each of the systems considered had unique strengths, but Canvas by Instructure emerged as a proven software-as-a-service, or SaaS, system. As such, it provides seamless, continuous small upgrades over time that do not require downtime for customers and will allow UKAT to shift its focus from LMS server support, troubleshooting, and upgrade planning and implementation to faculty and student support, instructional design, and emerging teaching and learning technology needs.
What does this mean for teaching and learning at UK?
Beginning this summer, all courses have a presence available in Canvas that faculty may choose to activate for the fall semester. Faculty can choose to teach in Canvas or Blackboard for the Fall 2015 and Spring 2016 semesters. Blackboard will no longer be available after June 1, 2016.
Faculty opting to teach in the first cohort of Canvas users this fall are urged to contact UKAT's eLearning team as soon as possible. Workshops, drop-in hours and individual appointments are available and may be found on the LMS transition page at http://www.uky.edu/canvas/.
UK students can review an orientation course to become familiar with Canvas' features at https://uk.instructure.com/courses/1096339 and may contact the eLearning Team at http://www.uky.edu/elearning/whoweare regarding additional questions.


An inmate was found dead on Tuesday in the medium security unit at Saskatchewan Penitentiary in Prince Albert.
Joseph Vincent Manitopyes, 31, was found unresponsive in his cell and was taken to Victoria Hospital, where he was pronounced dead at 10:35 p.m., according to a news release from the Correctional Service of Canada (CSC).
The cause of death has not been disclosed but "there was no suspicious circumstances," said Darcy Begrand, a spokesman for CSC.
"If foul play was considered to be an issue it (the news release) would probably be worded in such a way where circumstances would be suspicious. In this case there was no suspicious circumstances, other than he was found unresponsive in his cell," Begrand said.
Manitopyes was serving a sentence of five years and seven months, imposed in June 2014, for four counts of robbery, four counts of wearing a disguise with intent, possession of property obtained by crime over $5,000 and one count of attempted robbery.
The convictions related to incidents in Regina on Sept. 23, 2010. Manitopyes' DNA matched samples found in two stolen vans that were found to have been used in two parking lot purse snatchings, and a robbery at a Subway restaurant.
In one of the purse snatching incidents, a woman at an east-end grocery store was struck several times with a metal object, resulting in head wounds that required stitches.
CSC is investigating the death and an inquest will likely be held.


text:
RAAE
Review of Agricultural and Applied Economics
Acta Oeconomica et Informatica
ABOUT RAAE
Review of Agricultural and Applied Economics (RAAE) is committed to the academic community and therefore seeks to publish original work in the best possible form and to the highest possible standards.
Articles submitted for publication are double-blind peer-reviewed. That is mean: reviewers are unaware of the identity of the authors and authors are unaware of the identity of reviewers. There are at least three or more reviewers for the total number of articles in each issue.
It is necessary to agree upon standards of expected ethical behaviour for all parties involved in the act of publishing (authors, editors, reviewers, publisher). The RAAE ethic statements are based on the guidelines and standards developed and published by the Committee on Publication Ethics (COPE). All documents are available free of charge on COPE website (http://publicationethics.org/).
Plagiarism Prevention and Violation of Publication Ethics
All new submissions to the RAAE are subject to screening using Crossref Similarity Check powered by iThenticate for plagiarism detection, before being sent to reviewers.
Plagiarism, duplicate publication, data fabrication and falsification and improper credit of author contribution are serious violations of publication ethics. Thus, the plagiarism, fraudulent or knowingly inaccurate statements constitute unethical behaviour and are unacceptable. Submission of the same manuscript to more than one journal concurrently, constitutes unethical publishing behaviour and is unacceptable.
The default similarity report view gives the percentage of the text of the manuscript which has overlap with published articles.
Note that a high similarity score does not necessarily indicate plagiarized text. A similarity score of 30% could mean 30% text in common with one source but could equally mean 1% text in common with 30 different sources. Re-used text that has been legitimately cited the Bibliography and Methods texts may all contribute to the similarity score. The subject knowledge of an editorial expert is vital in order to interpret the CrossCheck report and determine whether there are any grounds for concern.
The publisher and the RAAE have a zero-tolerance plagiarism policy.
The RAAE editors are responsible for deciding which of the articles submitted to the journal should be published.
The RAAE editors will accept and evaluate manuscripts for their intellectual content regardless of race, gender, nationality, ethics origin, political philosophy, religious belief or sexual orientation of the authors.
Editors must not disclose any information about a submitted manuscript to anyone other than stakeholders.
Unpublished manuscripts or materials must not be used in an editors own research.
All submitted manuscripts will be considered for publication free of charge.
During submission, authors are required to agree to the Author's Declaration confirming that the work as submitted has not been published or accepted for publication, nor is being considered for publication elsewhere, either in whole or substantial part; the work is original and all necessary acknowledgements have been made; all authors and relevant institutions have read the submitted version of the manuscript and approve its submission; all persons entitled to authorship have been so included; all work conforms to the legal requirements of the country in which it was carried out and to the Journal's policy on these matters.
Authors attest that paper is their own, original and unpublished work.
Authors guarantee that the manuscript has not been copied or plagiarised (in whole or in part); a paper should contain sufficient detail and references to permit others to replicate the work; any used information resources (phrases, data, images, …) must be appropriately cited or quoted.
Authorship should be limited to those who have made a significant contribution to the manuscript content. All those who made significant contribution should be listed as co-authors.
Affiliation (all authors/co-authors) and corresponding address (main author) must be clearly stated.
When an authors discovers a significant error or inaccuracy in own published work, it is the author's obligation to promptly notify the Publisher and cooperate with the editor to retract or correct the paper.
Any manuscripts received for review must be treated as confidential documents.
Privileged information/ideas obtained by reviewers through peer review process must be kept confidential and not used for personal advantage.
Personal criticism of the author is inappropriate, review should be conducted objectively.
All suggestions and comments should be followed with supporting arguments.
Review of Agricultural and Applied Economics (RAAE) is committed to respecting data-protection regulations. This statement informs you of the steps we take to protect your rights.
By personal data we mean the details you provide us via our forms, e.g. your email address, names and postal addresses and other information details.
By using our site and by sending your names, addresses and other information, you accept that such personal data will be gathered and stored in our databases.
We will maintain appropriate safeguards to ensure the security, integrity and privacy of your personal data. We do not share personal data with other companies for marketing or similar purposes.
This data will be used by RAAE to provide you with the services you have required. We may also occasionally use it to inform you about provision of new services and changes of services. By sending your information to RAAE, you agree that the RAAE can use your email address.
Disclaimer Top
RAAE cannot take responsibility for information found on third party Web sites outside its control. While we attempt to provide links only to third-party Web sites that comply with all applicable laws and regulations and our standards, please understand that the content on these third-party Web sites is subject to change without notice to the RAAE. We therefore cannot be responsible for, and accept no liability for, any information or opinion contained in any third-party web site.
For the uniqueness and the originality of scientific articles authors are responsible. However, the editors seek to prevent the spread of plagiarism in the scientific sphere. All copyrights remain the author of the article. Authors agree with publication and other dissemination of their articles in world wide web for scientific use and citations.
Review of Agricultural and Applied Economics by http://www.roaae.org is licensed under a Creative Commons Attribution 4.0 International License.
This license lets others distribute, remix, tweak, and build upon your work, even commercially, as long as they credit you for the original creation.
Any further distribution of the RAAE papers must maintain attribution to the author(s) and the title of the work, journal citation and DOI.
If you are the author of the original article and wish to reproduce the article in full or in part in your PhD thesis you are free to do so providing you cite the original source article.
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We follow Sherpa/Romeo's blue archiving policy. Post-print or publisher's version/PDF is archived, without restrictions.
Authors' Declaration
EARLY VIEW AND CITATION ISSUES
Faculty of Economics and Management of the Slovak University of Agriculture in Nitra
Association of Agricultural Economists in Slovakia
EAAE Congress in 2020 in Prague
Login I want journal like this.
Review of Agricultural and Applied Economics | ISSN 1336-9261
Faculty of Economics and Management of the Slovak Agricultural University in Nitra and the Association of Agricultural Economists in Slovakia.
Technical solution by jajo.online (2012)


text:
#pragma once

#include <Onsang/config.hpp>
#include <Onsang/aux.hpp>
#include <Onsang/String.hpp>
#include <Onsang/UI/Defs.hpp>
#include <Onsang/UI/View.hpp>

#include <Beard/ui/Signal.hpp>
#include <Beard/ui/Root.hpp>
#include <Beard/ui/ProtoSlotContainer.hpp>

namespace Onsang {
namespace UI {

class PropView
	: public UI::ProtoSlotContainer
	, public UI::View
{
public:
	using SPtr = aux::shared_ptr<UI::PropView>;

private:
	using base = UI::ProtoSlotContainer;
	enum class ctor_priv {};

public:
	String m_name;

	UI::Signal<void(
		UI::View* parent_view,
		UI::PropView& prop_view,
		Hord::Cmd::UnitBase const& command,
		Hord::Cmd::TypeInfo const& type_info
	)> signal_notify_command;

private:
	PropView() noexcept = delete;
	PropView(PropView const&) = delete;
	PropView& operator=(PropView const&) = delete;

public:
// UI::View implementation
	String
	view_title() noexcept override {
		return m_name;
	}

	String
	view_description() noexcept override {
		return "prop view: " + m_name;
	}

	unsigned
	sub_view_index() noexcept override {
		return 0;
	}

	UI::View::SPtr
	sub_view() noexcept override {
		return UI::View::SPtr{};
	}

	void
	set_sub_view_impl(
		unsigned const /*index*/
	) noexcept override {}

	unsigned
	num_sub_views() noexcept override {
		return 0;
	}

	using UI::View::close_sub_view;
	void
	close_sub_view(
		unsigned /*index*/
	) noexcept override {}

	void
	sub_view_title_changed(
		unsigned /*index*/
	) noexcept override {}

	void
	notify_command(
		UI::View* parent_view,
		Hord::Cmd::UnitBase const& command,
		Hord::Cmd::TypeInfo const& type_info
	) noexcept override {
		if (signal_notify_command.is_bound()) {
			signal_notify_command(parent_view, *this, command, type_info);
		}
	}

public:
// special member functions
	~PropView() noexcept override = default;

	PropView(
		ctor_priv const,
		UI::RootWPtr&& root,
		UI::Widget::WPtr&& parent,
		Axis const orientation,
		String&& name
	) noexcept
		: base(
			static_cast<UI::Widget::Type>(
				UI::OnsangWidgetType::PropView
			),
			(
				UI::Widget::Flags::trait_container |
				UI::Widget::Flags::visible
			),
			UI::group_null,
			{{0, 0}, true, UI::Axis::both, UI::Axis::both},
			std::move(root),
			std::move(parent),
			orientation
		)
		, UI::View()
		, m_name(std::move(name))
		, signal_notify_command()
	{}

	PropView(PropView&&) = default;
	PropView& operator=(PropView&&) = default;

	static UI::PropView::SPtr
	make(
		UI::RootWPtr root,
		String name,
		Axis orientation = Axis::vertical,
		UI::Widget::WPtr parent = UI::Widget::WPtr()
	) {
		auto widget = aux::make_shared<UI::PropView>(
			ctor_priv{},
			std::move(root),
			std::move(parent),
			orientation,
			std::move(name)
		);
		return widget;
	}
};

} // namespace UI
} // namespace Onsang

redpajama_set_name: RedPajamaGithub


The Watershed Academy Certificate Program involves a set of self-paced training modules that represents a basic but broad introduction to watershed management. This program's goal is to provide useful information to local and state/tribal efforts aimed at improving the health of our Nation's waters by protecting and managing their watersheds. These training modules cover the most important watershed management topics, about which watershed managers, local officials, involved citizens, decision makers, and others should have at least an introductory level of knowledge. Web modules resemble interactive guest lectures by leaders in watershed management.
iTree is a software suite from the USDA Forest Service that provides urban and rural forestry analysis and benefits assessment tools. The i-Tree Tools quantify the structure of trees and forests, and the environmental services that trees provide. Information regarding i-Tree workshops are available here.
i-Tree Hydro is designed for users interested in watershed scale analyses of vegetation and impervious cover effects on hydrology. i-Tree Hydro simulates the effects of changes in tree and impervious cover characteristics within a defined watershed on stream flow and water quality. It was designed specifically to handle urban vegetation effects so urban natural resource managers and urban planners can quantify the impacts of changes in tree and impervious cover on local hydrology to aid in management and planning decisions.
The Certification and Licensing Branch is home to the drinking water and wastewater certification programs (as well as solid waste certification program). Through education and certification exams, these programs help ensure that the people charged with dealing with drinking water and wastewater are knowledgeable and capable of handling the responsibilities required of those positions.
Training events labeled with Simplifying Compliance are geared toward the regulated community and are developed to assist entities in complying with air, water and waste regulations. The division offers both webinar and classroom formats to accommodate various interests and schedules.
Living Greener events are applicable to a variety of audiences, both regulated and nonregulated. Topics vary from industry-specific training to general sustainability topics that can apply to businesses, communities or individual households. A list of Simplifying Compliance and Living Greener events can be found below under training event details.
Insight into design guidelines for Karst Terrain from within the Permanent Stormwater Management Manual.
The Tennessee Runoff Reduction Assessment Tool (TNRRAT) was designed to help engineers, landscape architects, and other designers to create successful permanent stormwater management designs that protect water quality and meet the Tennessee MS4 Permanent Stormwater Permit requirements. This webpage offers additional information about the tool including a TNRRAT description document and a video tutorial series.
This project seeks to educate forest landowners about the process of marketing timber, understanding best management practices and the importance of working with professionals.
The Master Logger Program teaches logging methods that benefit both the industry and the forest. The Master Logger Program helps loggers increase profitability and professionalism while better understanding business management, forest biology, safety, and OSHA and trucking regulations. Graduates receive a free one-year membership in the Tennessee Forestry Association and are put on an annual landowner referral list from the Tennessee Division of Forestry. Its five one-day courses are; first aid and cardio-pulmonary resuscitation (CPR), logging safety, forest ecology and BMPs, forest management and silviculture, and business management.
The Tennessee Stormwater Best Management Practices (BMP) Handbooks have provided excellent guidance to the stormwater community since their first publication in 2000. Refined and updated since, the handbooks are the standard reference for stormwater quality management in Tennessee. Within the Cumberland River Basin, a BMP handbook for the City of Nashville is provided. Handbooks for cities across the rest of the state include Chattanooga, Knoxville, and Memphis.
The UT Watershed Faculty Consortium and TNWRRC invite you to participate in the 5th Annual Watershed Symposium on Tuesday, September 13, 2016 at Hollingsworth Auditorium on Ag Campus. This year's symposium will focus on showcasing to university students the breadth of career opportunities in water-related fields and will feature a "Careers in Water" career expo. Industry representatives from government agency, private consulting, non-profit and education organizations will be on site with information about the career opportunities in their organization.
Educational opportunities related to stormwater management. Past events have included watershed symposiums, stormwater management training, rain garden trainings, stream restoration workshops, and more.
Service-Learning is a teaching and learning strategy that integrates meaningful community service with instruction and reflection to enrich the learning experience, teach civic responsibility, and strengthen communities. For example, if school students collect trash out of an urban streambed, they are providing a valued service to the community as volunteers. If school students collect trash from an urban streambed, analyze their findings to determine the possible sources of pollution, and share the results with residents of the neighborhood, they are engaging in service-learning. This webpage offers additional information about the program, service learning itself, and service learning training opportunities.
River Network hosts events and presents webinars related to our three strategic areas of focus (clean water, ample water, strong champions), providing easy access to best practices and new ideas on a regular basis and celebrating interesting and novel approaches. In addition to content we deliver, select offerings from other institutions will be promoted through our website to enrich learning across our community.
River Rally, hosted annually by River Network, is a national conference that focuses on education, inspiration and celebration within the river and watershed community. Unique in its focus on connecting peers, providing practical education, inspiring courage, and celebrating achievements, River Rally draws hundreds of people together every year from across the United States and the world. Join NGO staff, academics, agency and foundation representatives, industry innovators, and concerned citizens for the biggest (and most fun) event of the year.


text:
Each of the actions provided by the index's API requires a user assigned to a specific role. The roles are:

 * admin - can perform all actions
 * agent - can upload new packages to the index
 * client - can make calls related to searching the index, downloading packages, registering hosts and updating status

### Installation
Install the index globally from NPM:

```bash
npm install nonstop-index -g
```

### Setup
You'll need to provide some information during the first run in order to create client and agent credentials. This information is stored in NeDB files by default. The `users.db` file will contain a list of users that displays their roles and tokens.

### Running
Once you've set everything up, use the `-s` flag to auto-start the service and skip the menu.

```bash
nsindex -s
```

## Configuration
The process will look in the current working directory (where `nsindex` was called from, not where it is installed to) for a `config.json` file. This file can provide keys that will override the defaults specified.

> Note: when overriding a key with an array value, you must provide _all_ desired values for the array.

### defaults
```javascript
{
	host: {
		cors: {
			"Access-Control-Allow-Origin": "*",
			"Access-Control-Allow-Headers": "X-Requested-With,Authorization,Content-Type",
			"Access-Control-Allow-Methods": "OPTIONS,POST,PUT,PATCH,GET,DELETE"
		},
		modules: [
			"nonstop-package-resource",
			"nonstop-registry-resource",
			"autohost-webhook"
		],
		noSession: true,
		apiPrefix: "",
		urlPrefix: "",
		port: 4444,
		logging: {
			adapters: {
				stdOut: {
					level: 3,
					topic: "#"
				}
			}
		}
	}
}
```

### config.json
```javascript
{
	"host": {
		"cors": {
			"Access-Control-Allow-Origin": "*",
			"Access-Control-Allow-Headers": "X-Requested-With,Authorization,Content-Type",
				"Access-Control-Allow-Methods": "OPTIONS,POST,PUT,PATCH,GET,DELETE"
		},
		"modules": [
			"nonstop-package-resource",
			"nonstop-registry-resource",
			"autohost-webhook"
		],
		"noSession": true,
		"apiPrefix": "",
		"urlPrefix": "",
		"port": 4444
	},
	"logging": {
		"adapters": {
			"stdOut": {
				"level": 3,
				"topic": "#"
			}
		}
	},
	"storage": {
		"s3": {
			"id": "",
			"key": "",
			"bucket": "nonstop-packages"
		},
		"rethink": {
			"host": "localhost",
			"port": 28015,
			"database": "nonstop"
		}
	}
}
```

## Dockerization
Using the sample Dockerfile below, you can supply a config.json file that will provide the customization you need.

### Sample Dockerfile
```bash
FROM nodesource/trusty:0.12.7
ENV DEBIAN_FRONTEND noninteractive
USER root

# install node via NPM and nonstop index
RUN /bin/bash -c "npm install nonstop-index@0.2.0 -g"

# Index HTTP
EXPOSE 4444

# setup directories for data and packages
RUN mkdir /usr/src/app/data && mkdir /usr/src/app/public

# expose data and packages as volumes
VOLUME [ "/usr/src/app/data", "/usr/src/app/public" ]

# add configuration file
ADD config.json /usr/src/app/config.json

CMD /bin/bash -c "nsindex -s"
```

## Setup
The first time you run this container will need to be in interactive mode in order to create the authentication information.

> Note: the image name `nonstop-index` is intentionally generic and would be replaced with your own Docker image.

### first-time setup
```bash
sudo docker run -it \
	-v ~/nsdata:/usr/src/app/data \
	-v ~/packages:/usr/src/app/public \
	-e HOSTNAME=nonstop-index \
	-p 4444:4444 \
	--name nonstop-index \
	--restart=always \
	nonstop-index \
	bash
```

## Updating
After that, container instances based on the original or newer versions of the image can be started directly as they will re-use the externalized NeDB files.

### starting the container after setup
```bash
sudo docker run -d \
	-v ~/nsdata:/usr/src/app/data \
	-v ~/packages:/usr/src/app/public \
	-e HOSTNAME=nonstop-index \
	-p 4444:4444 \
	--name nonstop-index \
	--restart=always
	nonstop-index
```


text:
Fragments of opportunity
When his clay creations leave the studio Sam Duckor-Jones describes it as sending out small stories into the world. Catharina van Bohemen talks to the artist and finds his tales captivating.
Sam Duckor-Jones's house is old, half hidden behind dark trees in a quiet street in Featherston. A path between longish grass leads to an open door, and as you peer into the dimness, you sense profusion – a row of scarves and beanies, the faded intricacy of a rug, books, pictures, drawings tacked to a wall, a cello on its side, a photograph above a piano. You feel that this is not really your business but you want to look everywhere – everything has to do with work, possibility, and solitude.
Sam Duckor-Jones, 'Men alone with themselves'
Sam comes. He leads you past a room where a tangle of attenuated figures perch on chairs and tables. Something about their sepulchral intensity chills you – you must wait before asking about them. You pass through the house to the back lawn where two of his graffiti-ed Bad Kids companionably investigate an apple tree.
'Damaged during their installation,' he says. He smiles and points at a heap of bodily clay fragments piled against a wall.
At a recent residency at Wellesley College in Eastbourne, he told the boys about a conversation at King Street Artworks in Masterton where he works as a tutor. A student there had said she wanted to see all the mistakes an artist made before the work was finally completed.
'I told the boys that fragments are an opportunity – the story needs to change.'
After you've settled yourselves at the kitchen table piled with pads, pencils, poetry books and a cluster of unfired mugs (a tumbling of interests, taste, intentions), you tell him you're struck by the beauty of his titles:
Strong Men Point Their Toes/Always Bring a Poem to a Fistfight/Naked in a Flowerbed is When a Poem will be Read/Men Alone with Themselves/Everybody Just Kiss
Sam Duckor-Jones, 'Naked in a flower bed is when a poem will be read'
What comes first you ask. Work or words?
He pauses before answering, each word considered.
'I've thought about that a lot. Somewhere deep inside I'm probably not a sculptor, I'm probably a writer or musician. I had music lessons, but I'm not good at being a student – going to lessons and doing what the teacher says so that fell away when I was about 20. I've always loved writing so much. I think maybe the making is an excuse for the writing… [Before] I haven't been brave enough to write something by itself and just put it out into the world, but I've got into a good habit of making sculptures and putting them out… and [now] I want to share more.
'I do [my work] because it's an obsession. I spend a lot of time by myself. I'm interested in sexuality and vulnerability – that's the main thing; I've always had a turbulent relationship with sexuality – where do you put yourself? These guys I make, the strong men who point their toes, do things I'm not always brave enough to do myself. They have the honest life. They are who they are whether they're in the gallery or in people's houses.'
He talks about being 'in tandem' with the absconding Bad Kids, not like the upside down Strong Men.
Regarding Bad Kids
when I ran fast across the field,
J____ said hey bro you're fast
they'd laugh, they weren't mean
they had a lot of friends,
but all the same, S____
put his fist through a window one day
we'd cross paths in the park - everyone escaping
we'd cross paths in detention - everyone caught
they were the bad kids;
I wasn't very bad
but a boy can't help his crushes
This was the start of knowing that these 'charismatic and wild' boys were getting girlfriends and he was beginning to know he wouldn't. On a trip to Sydney when he was sixteen, he 'wore a cowboy hat on Bondi Beach and a beautiful man turned and looked back at me. Such loneliness hovers here at the edge of depravity, at the edge of joy.' Sam wrote these words for his previous show at Bowen Galleries in Wellington, First Trip to the Big City: studies of naked black men with delicate hands holding black lace fans, and pink faces and penises often illuminated by a torch.
'That show was about sex and adulthood. Strong men can be loving and graceful and exuberant.'
Say more about the upside-down men.
'I inherited headstands from Dad who still does them.
'When I was younger, I'd stay upside-down for a long time feeling important! Once I did a headstand on the Desert Road with Ngauruhoe between my legs. Being upside-down is unexpected. You see the world in a different way. Things should be toppled – looked at from different perspectives.'
The men in that room. They're all on chairs.
'I'm having so much fun with those guys. They're for my next show at Bowen in September; they're not clay but old-fashioned papier mâché. I'm wanting to break away from clay. With papier mâché you get unexpected dents – things jutting out and in. The guys are not perfect but they're rippling with movement. In my previous show the men were in isolation, but this next show is going to be a big tangled mess – that's the honest situation. I haven't decided whether to paint them but I'm liking their whiteness… (But I [also] like pink because it ties back into the idea of strong men being in touch with their feminine side). The dogs will definitely be painted though.'
The dogs. You hadn't noticed the dogs.
We walk back to the room and see the men standing or kneeling on their chairs and stools peering down at a swirling throng of dogs.
'Everyone keeps telling me to get a dog but I don't want to get a dog because I'm fighting this suburban life.'
In the summer I moved to the suburbs but I will not be suburban,
so let's call it the countryside,
that's what I do.
It was an accident, I swear to new friends at parties in the city.
Or at truthful intervals:
that I required space. And then shrug, like, so there we go.
If I let the grass grow long,
the house becomes a rough sketch, bearded and mysterious –
I would have the grass grow long all year round, I tell old friends at dinner in the city,
but for the problem of the dog's shitting:
I have to keep the grass low
in order to see where the shit has fallen.
You both talk about music and 'the sound of things' and how that's important for words too. 'We always had music and books in the house; there was always paper, and pencils.'
He's playing the cello – is working on the Bach cello suites – because a childhood friend and musician died suddenly, and playing is a way of staying closer to him. 'I'm braver,' Sam says. 'I play out more.'
He talks about poetry and the perfection of the short story: the 'whole parcel so you really get to know a person or an event, and can hold it.'
Your eyes track the white men, the cello, the piano, the photograph above the piano. You remember the graveyard in the garden, the paper and pencils on the table, poetry. All are fragments of possibility, of the story that's changing.
What's your favourite poem you ask.
'That's easy,' he says. He closes his eyes and the words come.
I am the least difficult of men. All I want is boundless love.
Even trees understand me! Good heavens, I lie under them, too, don't I? I'm just like a pile of leaves.
from Meditations in an Emergency – Frank O'Hara.
Kia Ngāwari
Light minded
A membrane of images


here is a rich and vibrant community of African immigrants in the Bronx—many of whom have settled in the borough over the last decade—and this multimedia exhibit is both an acknowledgment and a celebration of their contributions to New York City's cultural present and future. Twenty-five artists with roots from across the continent— Senegal, Nigeria, Mali and numerous other countries are represented—offer works in multiple visual formats and innovative styles. In addition to the exhibit, the event schedule also features panel discussions, African food tastings, book readings, musical performances, a poetry town hall meeting and more than a few chances to attend in-person discussions with the artists about their work.


Envoy: I want you to persuade Pingba in Nine Dragons suburb to form an alliance. If you run into trouble, i'm sure the higher level players will be happy to assist you. 'complete Ping Ba's requirement.
Beat option is wait to lvl40 and do the quest yourself. Don't get hung up on quests you cannot do. Move on.
For this one I just recently finished it, you have to talk to the Ning NPC and choose the quest option wherein he'll teleport you to the inner city, from there you have to talk to the Fee NPC to get the quest where you will have to shell out 100k worth of copper and 10 inventory spaces (he'll ask you to buy some equipments), the quest reward is the "Supply List".
But how do you getthe attack plans?
Many times students fail just because they did not explain their answers properly. That's why the selection of words is also very research paper service reviews important. You can write short answer but it should make some sense also.
If you're going to spend company money to increase Buy 20000 Twitter Followers, you may as well save as much of your budget as possible. Where can you buy Twitter followers cheap? Are there any services to help you buy How to use Twitter to Help With Your Sco in an efficient way? Read on to learn more about how to boost your popularity on Twitter without having to spend your whole bank roll. You have two options once you decide to buy Twitter followers. Do you want them to be real people or just bots? Obviously bots are going to be cheaper, but they won't provide the interaction that real followers do. Since many search engines rely on interactions for ranking purpose (they're on to the whole fake followers thing), you may decide it is worth the extra money to go with real followers. Plus, it can be embarrassing for your real followers to see how many fake ones you have. It doesn't take a rocket scientist to identify a bot profile. Most of them have no profile picture, they don't have a last name, and the user name has a bunch of random numbers at the end of it. They also will likely be following quite a few people but have no followers or tweets of their own.
The best place to Buy Twitter Followers Usa has to be on Fiverr. There are a number of individuals who claim to offer an exorbitant number of followers for just five dollars, and they generally deliver quickly. Check someone's rating to see if they really provide the service they are claiming to. Just because you buy Twitter followers, it doesn't mean that you should stop trying to get followers the real way either. Try searching for followers within your industry so that you will have followers that are actually interested in what you do. They are more likely to interact with you. Also, you can pick up on hashtags that are popular in the industry, thus you will be able to tag your tweets in a way that will get your profile more attention. The two methods can work hand in hand as people see your inflated number of followers and want to see what you are all about.


The City Council has completed an agreement that could provide the developer of the 206-room Whittier Hilton Hotel with up to $1 million in city loans and financial assistance over the next eight years.
The council, acting as the city's Redevelopment Agency, approved the agreement with the hotel developer, Duffel Financial and Construction Co. of Lafayette, Calif., after six months of negotiations. The two sides had agreed in January on the city's financial participation in the $13.5-million project, but specifics weren't worked out until late last month, said Larry Minasian, assistant city manager.
As part of the agreement, Minasian said the city will loan Duffel $300,000 to make required public improvements--sidewalks, larger sewer lines, fire hydrants and widening of some streets around the three-acre project on Greenleaf Avenue between Mar Vista and Penn streets.
In addition, the council agreed to spend a portion of the 6% bed tax it collects to promote the hotel and the surrounding Uptown Village shopping district during the hotel's first five years of business if it operates at a loss. Council members also agreed to let Duffel use the hotel's parking fees to maintain the two-story parking structure.
To attract the eight-story hotel project to Whittier, the city's Redevelopment Agency donated the site, worth about $2.2 million. City officials also agreed to build parking for 300 vehicles, including a two-story structure on the hotel's south side.


text:
East meets West in "Laudato Si'"
Pope Francis' encyclical on care for creation begins with Eastern Orthodox thought and in the concluding paragraphs returns to the Christian East again
December 4, 2015 Dr. Adam A. J. DeVille Analysis 0 Print
The various and diverse documents that make up modern magisterial utterances by the popes of Rome since at least the time of Leo XIII do not tend, as a general rule, to quote directly, or even to reference indirectly via footnotes, non-Catholic sources. Papal encyclicals, apostolic letters and exhortations, and other official documents almost invariably quote only two things: other popes and the decrees of those councils which the Church in the West presumes to label "ecumenical." All the references tend, in other words, to be safely Catholic and safely dead.
Not so with Laudato Si'—one of many differences in this pontificate. Immediately out of the gate, the encyclical opens by acknowledging ecological themes in the pontificates of Francis' three papal predecessors before devoting three full paragraphs to the writings of the current Ecumenical Patriarch [EP] Bartholomew of Constantinople who is repeatedly cited by name and quoted in both text and footnotes. Indeed, he is called "the beloved Ecumenical Patriarch Bartholomew, with whom we share the hope of full ecclesial communion" (no.7), and the encyclical bears a handwritten epigraphic dedication to "fratello, Patriarca Bartolomeo, con gratitudine." In both text and footnotes, the leadership of the EP on ecological issues, going back more than two decades, is not only acknowledged, but in fact drawn upon and cited approvingly. The encyclical is in fact "book-ended" if you will, beginning with Orthodox thought, and in the concluding paragraphs returning to the Christian East again.
That is not all. The second unusual event around this encyclical came at the official press conference in Rome when it was released. Again it is virtually without precedent that non-Catholics be involved in promulgating an encyclical, but once again this case was different. The EP had been invited to attend the press conference and give a talk about the encyclical, but declined for reasons of health. In his stead, Metropolitan John Zizioulas, widely regarded as the greatest Greek Orthodox theologian alive today and a close collaborator of the EP, was present and gave a speech in which, inter alia, he spoke of his "great joy," "satisfaction," and "deep gratitude" for the encyclical and for the cooperation between Orthodoxy and Catholicism on this issue.
Finally, after the encyclical was published Pope Francis adopted wholesale an initiative the Ecumenical Patriarchate established back in 1989: celebrating September 1st every year as a day of world prayer for the care of creation. This the pope has now done. One may be permitted to note the oddity that while for nearly 2000 years East and West have been unable to agree on a common date for the queen of festivals, Easter or Pascha, we have managed to agree on the importance of this rather minor feast if feast it is, if feasting is indeed permitted. Perhaps September 1st is to be a day of fasting instead? Pope Francis has not said so explicitly, but one should rule nothing out with the man, not least as he has said that one of the purposes for Sept. 1st is to beg the Lord's "mercy for the sins committed against the world in which we live."
So who is this man to whom this encyclical is dedicated, whose writings it cites at significant length, and whose practice of observing Sept. 1st as a day of prayer for creation the pope has borrowed wholesale? Who is this "beloved" Patriarch Bartholomew from whose own magisterial writings on ecology the pope has learned so much and now incorporated into an official and authoritative Catholic document?
Elected in 1991, the current Ecumenical Patriarch (EP) is no stranger to the popes of Rome. Popes John Paul II and Benedict XVI both traveled to Constantinople to celebrate with the EP on various occasions. In 2005, the Ecumenical Patriarch Bartholomew attended John Paul's funeral; in 2013, the patriarch again made history by attending the installation of Pope Francis in Rome. In the spring of 2014, the two of them met in Jerusalem on the 50th anniversary of the meeting between their predecessors, Paul VI and Athenagoras, in 1964. And then in Nov. 2014, Francis went to Constantinople for the latter's patronal festival on St. Andrew's Day.
Who, then, is this man and office which have established such regular and amicable contacts with all the recent popes of Rome over the last half-century? It is a commonplace among lazy journalists, whose numbers surely approach pestilential levels, to assert that the EP is the "Orthodox pope." But this is false insofar as the EP does not have even one tenth of the determinative power the pope of Rome does. Moreover, the comparison is manifestly nonsensical if one spares even a fleeting glance at the massive coverage on the global stage that attends the pope's move—as American Catholics saw only last month—compared to the obscurity in which the Ecumenical Patriarchate languishes. The pope commands attention by virtue of two key facts: he is head of the world's largest and most highly organized religious body, claiming the allegiance of nearly 1.5 billion people as compared to the roughly 200 million Orthodox Christians. And the pope is also head of a state, entitling him to all sorts of prerogatives and prestige the EP cannot claim in the international arena.
Given these facts, it has been clear since his election in 1991 that the EP would need a unique strategy if he were able to claim any global attention at all. The EP has neither the numbers nor a sovereign territory as his base and so is safely ignorable as far as Western press attention is usually concerned. Moreover, his message, like that of Orthodoxy and Catholic Christianity as a whole, remains deeply unpopular with those elites who control modern Western media: the Orthodox Church, like the Catholic Church, will not countenance abortion or gay marriage, and will not ordain women to the priesthood. With all these strikes against him, how then was the EP to gain attention? It was, I think, a stroke of genius to hit on Christian ecology avant la lettre, that is before it became such a boutique issue in Western media, academia, governments—and now the papacy.
In his writings on this on this topic the EP has focused, as the pope does in Laudato Si, on three themes:
• Repentance for our sinful damage to God's creation
• Conversion to new ways of living more fully human lives without relying on technology to solve the problems we have created
• Celebration of the world as both sacramental and theophanic: that is, the world as sacrament of communion not only between all creatures, but between them and their Creator whom the world reveals.
In many other things in LS, the pope clearly shares much in common with the EP's writings on ecology, including:
• a suspicion of technocratic solutions to our problems,
• a skepticism about the corroding influence of money on politics, both of which are often obstacles to real solutions;
• a deep anxiety about the modern propensity for a fragmented vision of life.
Moreover, both EP and the pope stress the importance of a responsible simplicity of life and a grateful contemplation of the whole of life, including solicitude for the poor and for the earth. Such a rightly ordered and integrated life both arises from and issues in what JPII called a "good aesthetic education," where that is understood not merely in an instrumentalist fashion but as an immersion in and restful, peaceful contemplation and enjoyment of the "infinite beauty of God" (LS 243). As Francis puts it at the end of his encyclical, returning once again to the East, "Encountering God does not mean fleeing from this world or turning our back on nature. This is especially clear in the spirituality of the Christian East. 'Beauty, which in the East is one of the best loved names expressing the divine harmony and the model of humanity transfigured, appears everywhere: in the shape of a church, in the sounds, in the colours, in the lights, in the scents'" (LS, 235, with the internal reference to Orientale Lumen no. 11).
Thus we have an entire encyclical "bookended" by laudatory citations of the thought and practice of the Christian East. While Laudato Si is not without problems, its unique incorporation of insights from the Christian East in more than a perfunctory fashion is one more step down the road of the "dialogue of love" and the search for unity called for by every pope at least from John XXIII and every Ecumenical Patriarch since Athenagoras. For this rare, unique, and important drawing together of the successors of Peter and Andrew, Catholics and Orthodox have one more reason to be grateful.
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About Dr. Adam A. J. DeVille 108 Articles
Dr. Adam A. J. DeVille is associate professor at the University of Saint Francis in Ft. Wayne, IN., where he also maintains a part-time private practice in psychotherapy. He is the author and editor of several books, including Orthodoxy and the Roman Papacy (University of Notre Dame, 2011).
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