Diplegic cerebral palsy (CP), also known as spastic diplegia, is a form of cerebral palsy marked by tense muscles and spasms. Leg muscles in particular tend to be extremely tight, and over time, this causes joints to stiffen, reducing the range of motion. Diplegic CP is considered one of the milder forms of the disorder, and most children's intelligence and cognitive functions are not severely affected, although they may take longer to reach intellectual milestones.
Neonatal asphyxia is the most common cause of diplegic CP, which generally happens when a newborn is deprived of oxygen during the delivery process. Infants born prematurely and with low birth weight have a heightened risk of developing diplegic CP as these babies are prone to oxygen problems during birth. Maternal infections, such as a high-grade fever or rubella during pregnancy also play a role in an infant develop diplegic CP.
During infancy, babies may use their upper limbs to move around instead using their legs and arms to crawl. Additionally, some infants may not crawl at all.
Between 1 to 3 years of age, infants and toddlers may prefer to sit in a "W" shape. However, doctors recommend helping your child practice sitting cross-legged for posture practice.
Some children may not be able to stand alone by 3 years of age. In these instance, a stander or an ankle-foot brace may be recommended by your doctor.
When children begin to walk, they may walk with their feet turned inward or they may roll their feet.
Spastic hip disease is common and can gradually increase to hip dislocation and joint problems as the child grows older.
Most children with diplegic CP can only walk short distances.
Leg muscles may go from stiff and rigid to floppy and relaxed.
Although an infant can be assessed at birth as high-risk for CP because of asphyxia, it may be several months or years before a formal diagnosis of diplegic CP can be made. The diagnosis takes longer due to the primary symptoms affecting the legs. Children must first show signs of leg movement difficulties and developmental delays before a proper diagnosis can be made.
As with most other forms of CP, children with diplegic CP greatly benefit from physical therapy. Physical therapy not only helps strengthen muscles but it also helps with balance, coordination, and daily living tasks. In addition to physical therapy, many parents opt to have their children undergo massage therapy, which can begin as early as infancy. Massaging helps to relieve pain and reduce the muscle stiffness associated with diplegic CP.
Doctors may also prescribe medication that helps to decrease muscle spasms and stiffness, such as baclofen. In instances in which medication isn't enough to reduce the pain, yoru doctor may recommend orthopedic surgery. Orthopedic surgery is the most common type of surgery for children who have CP and entails correcting walking difficulties and unmanageable stiffness. According to the National Institute of Disorders and Stroke (NIH), children must be at least 2 to 4 years of age before undergoing orthopedic surgery and must have major obstacles in their motor skills development.
Per the U.S. National Library of Medicine (NCBI), prognosis is favorable for children with diplegic CP. As previously mentioned, diplegic CP is the least invasive type of CP, affecting mainly the legs. However, since hip dislocation is common, it's highly recommended that people with diplegic CP begin regular hip check-ups as soon as possible.


One of the most photographed bridges in county Wicklow has been washed away.
The timber bridge which forms part of the Wicklow way close to Turlough hill was reefed from its position in the early hours of Friday morning by flash floods.
The 2 photographs above show the before and after scene this week .
The bridge was due to be replace this coming winter.


text:
var five = require("../lib/johnny-five");
var board = new five.Board();

board.on("ready", function() {

  // Plug the Temperature sensor module
  // into the Grove Shield's A0 jack
  var temperature = new five.Temperature({
    controller: "GROVE",
    pin: "A0"
  });

  // Plug the LCD module into any of the
  // Grove Shield's I2C jacks.
  var lcd = new five.LCD({
    controller: "JHD1313M1"
  });

  temperature.on("data", function() {

    // The LCD's background will change
    // color according to the temperature.
    //
    // Experiment with sources of hot and
    // cold temperatures!
    //
    var f = temperature.fahrenheit;
    var r = linear(0x00, 0xFF, f, 100);
    var g = linear(0x00, 0x00, f, 100);
    var b = linear(0xFF, 0x00, f, 100);

    console.log("temp: ", f);

    lcd.bgColor(r, g, b).cursor(0, 0).print(f.toFixed(2));
  });
});

// [Linear Interpolation](https://en.wikipedia.org/wiki/Linear_interpolation)
function linear(start, end, step, steps) {
  return (end - start) * step / steps + start;
}

// @markdown
// For this program, you'll need:
//
// ![Grove Base Shield v2](http://www.seeedstudio.com/depot/images/product/base%20shield%20V2_01.jpg)
//
// ![Grove - LCD RGB w/ Backlight](http://www.seeedstudio.com/wiki/images/0/03/Serial_LEC_RGB_Backlight_Lcd.jpg)
//
// ![Grove - Temperature Sensor](http://www.seeedstudio.com/wiki/images/thumb/b/b0/Temperature1.jpg/400px-Temperature1.jpg)
//
//
// @markdown

redpajama_set_name: RedPajamaGithub


Welcome our newest PPH member, Schatzie. She is eager to start her tour of duty with Veterans in the Men's Trauma Recovery Program here at the Menlo Park VA.
Three seems to be the magic number here in Menlo Park for Service Dogs in Training: Timmy, Ozzy, and now Schatzie. We also have a Facility Dog named Webb.
Schatzie fits right in taking 4th of July pictures.
Ozzy continues his training. He is learning commands on land and sea apparently.
Timmy turned 3. Who can say they have helped so many Veterans and became a father all before the age of 3? Only our Timmy!


text:
Judiciary - 31m 36s ago
Nexstar Media Wire News - 35m 35s ago
Education - 1h 5m ago
Defense - 2h 49m ago
Presidential races
Cruz: Most violent criminals are Democrats
by Mark Hensch - 11/30/15 7:09 PM ET
Sen. Ted Cruz (R-Texas) said late Monday that most violent criminals also identify as Democrats.
"Here is the simple and undeniable fact – the overwhelming majority of violent criminals are Democrats," he said on "The Hugh Hewitt Show" that evening.
{mosads}"There is a reason why for years the Democrats have been viewed as soft on crime," Cruz continued. "They go in and appoint to the bench judges who release violent criminals.
"They go in and fight to give the right to vote to convicted felons," the 2016 GOP presidential candidate added. "Why?
"The Democrats know that convicted felons tend to vote Democrat. The media never reports on any of that. [It] doesn't want to admit any of that."
Cruz then argued that the mainstream media often tries linking violent crime with the GOP, even when such ties are nonexistent.
"Every time you have some sort of violent crime or mass killing you can almost see the media salivating, hoping, hoping desperately that the murderer happens to be a Republican so that they can use it to try and paint their political enemies," he said.
"You can see that every time there's a terrible crime they're so excited – 'come on, please be a Republican so we can try and paint the other side,'" Cruz said. "It is one of the more egregious examples of media bias and something we see over and over again."
Cruz and Hewitt were discussing last week's mass shooting at a Planned Parenthood facility in Colorado Springs, Colo.
Robert Lewis Dear, the alleged gunman, killed three people and wounded nine others after opening fire there the night of Nov. 27.
He then reportedly uttered the phrase "no more baby parts" upon entering police custody last weekend. Police have since repeatedly stressed that it is unclear whether the organization's abortion policies inspired Dear's alleged rampage.
Cruz charged Monday that Dear's purported actions do not represent the values of the pro-life movement.
"I would note that this whole episode has really displayed the ugly underbelly of the media," he said, noting some news outlets that had suggested potential links between Dear and anti-abortion supporters.
Tags Democrats GOP Republicans Ted Cruz violent crime
McDaniel wins reelection as RNC chair in contentious election
by Caroline Vakil 20 hours ago
Campaign / 20 hours ago
California seeks disbarment of Eastman following Trump memo

redpajama_set_name: RedPajamaCommonCrawl


text:
Studio Michael Anastassiades
Interview by Maisie Skidmore
Photography by Kasia Bobula
Exhibition photography by Osma Harvilahti
books, industrial design, interview, publishing
Things that Go Together, Michael Anastassiades
London: Once you start to think about it, you realise that lighting design is absolutely central to the way we experience the world. An ill-positioned street lamp creates a pocket of darkness to shroud illicit activity. A cosy corner is neither cosy nor, visibly, a corner, until a little lamp illuminates it. Which had gone more or less completely over my head until I buried myself in Michael Anastassiades's body of work. Now, everything looks quite different.
Born in Cyprus and based for a long time now in London, Michael's work is by no means limited to lighting design, though those graphic, characterful compositions play a large role in what he does. Working at the intersection of design and art, he creates product, furniture, and environmental design, making pieces which are rigorous, playful, pure, abstract, nuanced, and evocative, and often all at once.
Michael studied civil engineering at Imperial College, followed by industrial design at the Royal College of Art, and founded his eponymous studio in 1994. Some of his early pieces toyed joyfully with ideas about interactivity: the Anti-Social Light, created in 2001, works only in complete silence, for example, while the Social Light, made that same year, switches on when people around it are speaking. As his practice has evolved, so too have these layers of meaning. Newer works demand interaction in quieter ways: String Lights, a minimal pendant suspended from a long, fine cable, created for Flos in 2013, permits or even demands that its owner create their own minimalist composition, using its length to divide up space in endless formations. There's an interaction which anthropomorphises his works, inserting unexpected new emotional reactions into what might otherwise be just a very nice object. They are held, unsurprisingly, in museums around the world.
Michael and his team have been based in their bright north London studio (no shadows here) for a few years. Sitting in the centre of it, we talked about nature, reflecting, exhibiting, prototyping, and his ever-growing collection of stones, among other things.
Michael, you are fresh out of a 'year of review'—first with your exhibition, 'Things that Go Together', at NiMac in Cyprus, and then through the accompanying book. How do you feel now, emerging from that into 2020?
It was an important moment. I think it's important to stop and look back at your work. Because when you're creating, you're always looking ahead to the next thing. You always think the next piece you're going to make, or the next creative thing you're going to do, is going to be better than the one before. We never stop and look back on what we've created—or at least, we don't do it often. Looking back at a chunk of work made over a ten-year span is quite unusual. When you get that opportunity, it's a scary moment. You suddenly feel that you're going to be assessed by somebody, you know. I think at the end of the day we're scared of our own criticism.
And in an exhibition format, you don't know who's going to come and pass judgement.
It's not so much that. I think you always have that fear that the evolution is going to be so obvious—the difference between old work and new work. You worry it's just not going to fit together. That's actually the scariest bit, the biggest fear I had. How do you actually put it all together in one space? The safest option is to look at your work chronologically, because you've grown, and it's easy to show that growing process. In an exhibition, that seemed like an obvious thing to do. You guide the audience through the work.
And did you present the works chronologically?
No, I didn't. First I was trying to create one specific route through the exhibition; I wanted to have full control over the viewer. Then I realised it felt too forced, somehow, so I tried to create a subtler differentiation, by introducing a layer of plinths. By this time, we had exhausted all the different possibilities of establishing a hierarchy between the objects. My work is so diverse, across all sorts of different levels, from production, to limited edition, to one-off pieces. That felt complicated!
The biggest revelation was when I said, 'You know what? Everything on the floor. Let's remove all the plinths. I don't want any of that stuff'. It was as if you had unpacked the crates and the objects had landed where they were positioned. I felt free, all of a sudden. That level of freedom was the biggest satisfaction. But I had to go through this whole process.
Do you approach your exhibitions in the same way that you approach your projects in the studio?
You have to, because it's the way you view things. But the problem is, there's too much of it, and it's work you're very familiar with.
It seems to me that one of the greatest challenges a designer faces is in trying to keep their eyes fresh, trying to maintain that objectivity. You have a wealth of knowledge that you've built over the years, and yet you need enough perspective to see all the possibilities. How do you do that?
You just need to create distance. That's always the trick. Rushing into something is the biggest mistake you can make, because then there's the biggest danger that the project is not going to work.
And that distance comes in the form of time?
Yes, space and time. You need to physically step back, leave it, and then look at it again and again. You need to insert those intervals. The problem is that you're always working on a deadline, and sometimes it's not possible to do that. In the case of the exhibition, it was absolutely not possible to do that. You are so familiar with the work that you can't actually create distance from it. You've done it, it's finished. Also, you can't change it anymore.
You can't do a Jeff Koons and pop in with your paintbrush, touching up the pieces as they hang on the walls?
It's very tricky.
How has this time of reflection recontextualised your work, for you?
It was a discovery that this idea I'd had, about how everything new is going to be better, or different—it's not true. There was no difference in the language of the old and the new work. Not that there is no evolution, because I believe as creatives we do evolve. But it wasn't about being harmonious. I hate that word, 'harmony'.
The idea of harmony, I don't see that as a positive in creativity. You need to surprise people. If things sit comfortably, that's the wrong achievement.
What's the right achievement?
Whenever you look back at your work, it needs to give you something; you need to feel something. You can achieve that through layering. I'm not talking about visual complexity, I'm talking conceptual layering, into the object. Every time you see the object, you discover something. Suddenly, when you see it all together after all these years, it surprises you. Even if you've seen it hundreds of times, it still needs to give you something. That's really important, I think, in my design process. I want to have that—and for people who experience these objects to have that, too. And to have their own interpretation, and things I haven't thought of.
Does it give you pleasure to see the way people receive your work?
From the moment you release a product, you are open to criticism.
And product design is such a democratic medium to choose, because you're creating objects which will exist in other people's lives.
And hopefully for a long period of time.
Exhibition Things that Go Together held at NiMAC, from March 7 to July 20, 2019, in Nicosia, Cyprus.
There's a theme which emerges in the book, and in your practice more broadly, of the ways that objects have human qualities.
That was the beginning, really, of my research into design: what I wanted from design, how I saw design, what I wanted design to be at that time. It was really important to add that layer of complexity in the way you relate psychologically to an object—beyond, say, its physical attributes, or how you want it to function. Adding this layer, sort of an emotional functionality, is essential. In some cases it was involving electronics. Suddenly, there is an unexpected quality to an object, which gives it almost a behavioural function.
There's the Message Cup, which I designed, and the Anti-Social Light, and the Alarm Clock Table. Suddenly you need to respect that peculiarity about the object, to get it to work with you. It exists, already, in our everyday lives. I made it obvious by highlighting that complexity, but it does exist. Sometimes things don't work the way you expect them to, and you find ways to trick them. You come up with all these tricks for your washing machine, for example, if it's suddenly not behaving the way it was before: say, you've discovered that if I do this, I'll trick it, and then I can get it to work. That's a very blunt way of looking at it, but that psychology exists. You trick a person, you trick a pet, but usually you don't trick objects.
It's like applying those interpersonal relationships to your inanimate world.
It's interesting when you add that layer of complexity to a relationship you have with your products.
That's fun! Do you find yourself looking for these experiences in your own everyday life, with things you use?
What kinds of things?
Well, everything. You know that idea of animating an object, giving it a character. Even if you give it a name, suddenly you see it in a different way. It's kind of a fiction—you imagine things to be different to what they normally are.
Tell me more about your process.
It's different for every product. It's very difficult to describe. It's almost instinctive. There is a moment when you see the object differently, and then it clicks. You say, 'That's what it needs to do'. You realise it couldn't have been anything else.
That process of elimination again?
Yes, it's partly that. It's tricky, and it's instinctive. Early on in my career I used to draw bubble diagrams to explore relationships and try to link them up. If this was like this, and this was related to that, then what would happen? Through this imaginary process, which was almost mathematical, I was arriving at a lot of surprising relationships and results and complexities. Now it comes more instinctively. I don't draw bubble diagrams anymore. I just feel that, yes, this makes sense. I see it happening, and when you look at my work now, which for a lot of people might seem different to the interactive work that I was describing before, it's much more challenging to see that layering, that psychological complexity. Because it's not so obvious, you know? In that early work you're adding a layer of interactivity, you're asking your cup to speak, you're asking your light to interact with sound. It's very obvious, it's there, it's very easy to discover it. Yes, it's poetic, it's beautiful. In other things, these layers are much subtler.
They're almost deeper, it seems. Like layers of rock forming over time. They've become compacted.
Yes. I see them as embedded in the language of the product. They're there, and some people might discover them, and some people might not.
You work a lot with prototypes and models.
Yes. I sketch a lot, so I have all these sketchbooks, and they're easy. It's just a practical thing, I can carry it everywhere, I can sketch in the places where I find myself, on a plane or in an airport lounge. I wish I could actually make things while I travel, but it's almost impossible to do.
Where did this urge to make things come from?
I remember as a child growing up, I always liked to pick things up and make them into something—from a chocolate wrapper, or a root from the beach, to dried grass, or whatever. It's interesting, that need to make something. That physicality, for me, was the key. Suddenly, drawing had to replace that activity—which is fine, because it's also a skill that you need to cultivate, and it works. What I try to do is eliminate the steps between the sketch and the final product. That's why I like to make a lot—rather than drawing first, then putting it in 3D, and rotating, spinning it. That is the part which is the most dangerous.
Early sketches of One Well Known Sequence floor lamps, 2015. Developed into limited edition collection One Well Known Sequence, produced for Nilufar Gallery, Milan.
Sketch of Mobile Chandelier 14, 2017. Product part of Michael Anastassiades Unlimited Collection. Released at Salone del Mobile in 2019.
In what respect?
In the sense of not really getting it right. The spontaneity that exists in making something—the rest is just too calculated for me. You eliminate all the spontaneous moments. I'm not saying that you cannot have spontaneity in 3D, because you can have accidents there, too, and they're interesting. The problem is that it's less likely for accidents to happen in that way. Three-dimensionality adds more opportunity for accidents.
Do you keep all of your prototypes?
We try. Sometimes there's a space problem.
Tell me about your collection of stones.
It started from a childhood obsession with picking things up, everywhere I went. It seemed that they were the easiest things to steal, from nature. It's right there! And I was also fascinated with the role of nature as a designer.
The fact that it's an object, and nature made it that way. I was fascinated with that idea. There you are, picking something up that was not made by a machine, that was not designed by a person. It's finished, it's ready, you can use it. If you look back, the earliest pieces of design are probably those Neolithic tools that people used—that's how old design is.
Your collection of stones has continued to influence the way that you work.
Yes. Although they look similar, they're not; there are so many subtle things that you can discover through them. Not only the shape of it, the layering of it, the formation of it, the lines that exist because of the layering, the hardness, the softness. Look at this stone—it looks like it's diseased, almost.
Where do you keep your collection?
Well, unfortunately I can't live with all of it, because I don't have that much space. So a lot of it is stored in crates. A lot of these objects were in my house. Some of them were in my studio. It just depends. The exhibition was a good moment to actually document it, and now I know exactly how many I have! I thought it was an impossible task, but everything is documented, everything is archived. It's interesting because suddenly all these stones acquire value or status, somehow.
Yours is a curator's role, building these collections.
What was beautiful about the exhibition was that room and that space, displaying a mixture of things, and my collections, things that feel accidental, that you picked up. From a leaf that fell from this tree and dried, to something that I made, to something that I found, to some of these objects that I've collected over the years.
What's this one?
This is a plaster head by Eduardo Paolozzi. He gave it to me while I was studying at the Royal College. He was doing a residency there, in the ceramics department, and I was working in the ceramics department. He was a very grumpy man, he never even used to say 'good morning' or 'hello' to me. Often it was just me and him, in the same room, and one day he came in with a tray full of these heads, and said, 'Would you like one? Just pick one up!'
I wonder if he came to a conclusion about you, based on your choice.
Well, they all looked pretty much the same, but somehow it felt right. When he died a few years ago, people went into his studio and found all of these plaster-cast models. I started buying them. A lot of them. So it was quite interesting to add to that collection.
Laid flat they look like a utopian city.
It's interesting when you see these things that look kind of like geological ruins, but then you see them in the context of other things. It's all about collecting, and what you find interesting at that particular moment. Even models that you make, or tools that you find.
Where do you find them?
I buy stones on eBay.
Really! I'd love to know what your Google alerts are.
Round stones, maybe? It's amazing! If you say, 'I bought this from eBay,' people will say, 'Are you mad?' I like that idea, that suddenly you're adding value to something. Even if I bought it for a pound, or 50p, and the postage costs more—the idea that somebody is selling that stone, that there is even a market for it. You're bidding, even! Against somebody else!
Do you listen to music while working?
Not really, no, because then I focus on the music and I can't actually work.
What kind of environment do you need to do the work that you do?
It doesn't matter anymore. I daydream, and I can do that anywhere. Whether I'm with people or by myself. It's a state, a frame of mind. If they locked me up in a room, I'd still do the same.
This is the first monograph to celebrate the work of acclaimed designer Michael Anastassiades and takes an exhibition held in early 2019 as a starting point for exploring his approach to design. There, carefully laid out displays—things that Michael had unearthed in nature or sourced from his own collections—formed a constellation of objects and a syntax of 'things that go together'. This book might be considered yet one more layer in this universe of objects and meaning.
Texts by Alessandro Rabottini, Elena Parpa, Emily King, Mario García Torres, Michael Anastassiades, Yiannis Toumazis, and Zoë Ryan. Text editor: Alessandro Rabottini. Photography by Osma Harvilahti.


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text:
Stedman History » History of the Stedman Surname
History of the Stedman Surname
Adapted from: "Barton and Stedman also Steedman and Steadman Families" by Joseph Earle Steadman (pp. 9-13)
The Stedman family has origins in England that pre-date the Norman Conquest in 1066.
Origin of the Stedman Surname
Surnames were not in use in England before William the Conqueror in 1066. Soon after he ascended to the throne, he ordered adoption of surnames by all members of the upper classes of people. The adoption of surnames by members of the lower classes was not permitted until some centuries later.
Surnames were adopted from two principal sources, namely:
The name of the town, city estate, or domain where the adopter lived. For example, Reginaldus de Steddanham, meaning Reginaldus of Steddanham. In 1259 his wife Christiana made a settlement relating to property in County Sussex, England. – (Excerpta Roterlis Finium in Tuni Londonensis – Asservatis Henrico Tertio Rege, Vol. II, p. 291.) See later.
The occupation in which the adopter was engaged. For example, John le Stedman, meaning John the sted/stead man (a farmer or a yeoman who owned a small farm). In 1284 he delivered wool to the collectors of wool in County Gloucester, England. — (Ancient Deeds, Patent Rolls, or State Papers of England.)
(Note the words de and le for differentiation.)
The surname Stedman is of Saxon origin, and it seems to have originated from the first source.
The derivation of Stedman from Steddanham follows a familiar pattern where "(n)ham" (meaning home) was converted to "man".
Deadman from Debenham
Parman from Parnham
Putman from Putterham
Swetman from Swettemham
Highman from Highnam
Downman from Downham
Lyman from Lineham
Bardeley (Dictionary of English and Welsh Names, page 11.) states: "It is interesting to observe the various meanings of man as a suffix — man for nham in local surnames. Indeed it is a fairly large class. Instances will be found scattered over the country."
Evidently the change in the suffix grew out of early confusion of the Anglo-Saxon (n)ham (meaning home) with the Norman-French homme (meaning man), which words have a very similar sound when quickly pronounced. This is illustrated by the English Pridham which was confused with the French prudhomme (a wise or prudent man) and became Pridman; and by the English Bonham which was confused with the French bonhomme (meaning a good man) and became Goodman. In all of the original forms mentioned herein the letter h was silent. Steddanham, for example, was pronounced as though the spelling were Stednam. Thus it was natural and expected that Steddanham became Stedman.
References for comparison:
English Surnames. — By Lower.
Family Names. — By Gentry.
Surnames. — By Anderson.
Surnames of the United Kingdom. — By Harrison.
Surnames: Their Origin and Nationality. — By McKenna.
The Names We Bear. — By Long.
Steddanham
Steddanham was located in County Sussex in England and is now called Stedham. The name is derived from Stedda (name of a Saxon thane or baron) and ham (home; an estate inclusive of land and a village, together with a manor and it appurtenant buildings). Steddan is the possessive form of Stedda and together they mean "Stedda's home" – Steddanham.
Prior to the year 960, Steddanham was possessed by the Saxon noble Wulfric. At some time during the short and troubled reigns (940-960) of four English Kings – Edmund, Edred, Edwy, and Edgar I – Wulfric forfeited the estate, apparently because of having displeased one or another of those kings. However, in 960 King Edgar I restored it to Wulfric by charter.
Wulfnoth, Baron of Sussex and a naval commander, was next in possession of Steddanham. In 1009 he was engaged in some political misconduct which caused King Ethelred II to confiscate the estate, and it remained in the possession of the crown until the king died in 1016. In the latter year, Prince Ethelstan succeeded in possession of Steddenham, and, when he died in 1020, he left the estate by will to Godwin, a son of Wulfnoth.
In 1018, Godwin (990-15 April 1053) was created as Earl of Wessex by King Canute of England. Godwin was a noted statesman, and, next to the King, he was the most powerful man in England. In 1019, he married Gytha (daughter of Thorgil Sprakaleg and sister of Ulf the Danish Earl), who was a niece of King Canute. They were the parents of six sons (Swegen, Harold, Tostig, Gyrth, Leofwine, and Wulfnoth) and three daughters (Eadgyth, Gunhild, and Aelgifu).
In 1053, Steddanham descended to the possession of Harold (1022-1066), the second son of Godwin. He was Earl of East Angles in 1045, and became Earl of Wessex after the death of his father. In 1066, he was elected to succeed Edward the Confessor as King of England. The election was challenged by William, Duke of Normandy (later called William the Conqueror); and the opponents, with their armies, met in battle at Hastings (in County Sussex, England). Harold was defeated and slain.
At the time of his death, Harold was the husband of two living wives, a danish wife (so called because of a Danish custom then prevailing in England) and a principal wife who was recognized as the queen. The danish wife Eddiva (or Edith, thought to be Eadgyth Swanneshals who was remarkable for her beauty), together with her sons Godwin, Eadmund, and Magnus, and her daughters Gytha and Gunhild, was settled in the Steddanham estate. The principal wife (or queen), together with her twin sons Harold and Wulf (born after the death of their father), was settled on another estate that King Harold inherited from his father. Following the defeat and death of Harold, both of these estates were confiscated by William the Conqueror and given, one each, to two of his followers.
In the year 1086, the name of the Steddanham estate was changed to Stedeham, which in 1308 evolved into Stedham, as it is today. Stedham is a parish and village in County Sussex. In 1831 the parish included 2481 acres of land. The family seats established therein were Stedham, Stedham Hall, Rotherhill, Wispers, Ash, and Tentworth.
References (in Library of Congress, Washington, DC)
Murray, A New English Dictionary on Historical Principles, Vols. V & VI
Elwess and Robinson, Castles and Mansions of Western Sussex
Chronicon Monasterii De Abingdom, Vol. I
Horsfield, County of Sussex
Dallaway, County of Sussex, Vol. I
Domesday Book of Sussex, XV 35, pp. 61-62
Bartholomew, Gazeteer of the British Isles, 1887
M. A. Lower, History of Sussex, Vol. II, p. 175
History of County Sussex, Vol. I
The Great Roll of the Pipe (1 Richard I, 1187-1190)
Freeman, The Norman Conquest, Vol. V, 1876
The Place Names of Sussex, Vol, VI, part 1, p. 20
The adoption of Steddanham as a surname would have occurred during the period of 960 to 1086 when the estate was known and recorded by that name and the use of surnames was restricted to the upper classes. The change to Stedman occurred about the year 1191. Burke in The General Armory speaks of "the ancient and illustrious family of Stedman known in England since 1191." Nicolas in Counties and County Names in Wales shows the ancestry of a Welsh branch of the Stedman family traced back to that year and the first bearer of the surname.
After 1086, another family that was connected to the Steddanham estate adopted the name Stedeham (as the name had evolved to by that time), as in Simon de Stedeham. Their surname evolved over time to Stedham.
This Stedham family has no relation to the Swedish Stedham family descended from Dr. Timmen/Tyman/Timothy Stidden. (He was a Swede who emigrated to Delaware.) That surname is incorrectly spelled Stiddem in a deed given him by an English official in 1671. He, his children, and their descendants thereafter became known as Stidham, or a variant such as: Steadham, Stedham, Steddom, Steedham, etc.
Early History of the Stedman Family
The Dale Castle Manuscript and data obtained from other sources furnish information concerning the early history of the Stedman family. Dale Castle was a forfeited house in the Parish of Dale, County Pembroke, Wales. The known circumstances and events associated with the first bearer of the surname indicate that he and his father were members of the upper class of people, and that his Stedman surname basically was derived from the estate of Steddanham in County Sussex, England. The herein account of the said first bearer and his father is based on this premise.
At some time prior to 1182, ____ de Steddanham, an English nobleman, went on a pilgrimage to the Holy Land. He remained there, established a domain for himself – which he called the "Duchy (Dukedom) of Arabia," and assumed the title "Duke of Arabia." He apparently was a man of hasty and driving action, so much so that he became known by the nickname "Calcarba, or Calcarbus" (derived from the word calcar, meaning a spur). Hence, "Calcarba, or Calcarbus, Duke of Arabia."
During the early crusades to the Holy Land, "the moment a city was captured by the crusaders, a dispute arose as to whom it should belong. At length the different leaders separated, each to fight on his own account and to gain a kingdom for himself." — (S. J. Goodrich, History of All Nations, Vol. II, p. 863.) Another author states that some of the crusaders and pilgrims carved out a territory over which they set up themselves with assumed titles of nobility. In the year 1182, Saladin (Sultan of Egypt and Syria), an opposer of the crusades, began conquest of the Holy Land to recover it to the Saracens (Mohammedans). Calcarba's domain lay in the path of Saladin's operations, and he and his children John and Clarissa) fled towards Jerusalem. Calcarba died before reaching Jerusalem, and John went on to the city. Nothing further is said concerning Clarissa.
John de Steddanham, son of Calcarba, Duke of Arabia, remained in Jerusalem and assisted in its defense until it fell to Saladin in 1187. He, evidently, then escaped to other parts of the Holy Land and assisted in the struggle against the Saracens. In 1191 he joined the forces of King Richard I (the Lion-hearted), who was then on the third crusade to the Holy Land, and assisted in the capture of Acre from the Saracens under Saladin.
It evidently was here that his surname underwent the change from de Steddanham to Stedman. He accompanied Richard on his successful campaign towards Jerusalem where, after a siege of the city, a truce was concluded with Saladin in 1192. The truce provided that the pilgrims should be free to visit the Holy Sepulchre, and that a designated part of the seacoast of the Holy Land should belong to the crusaders.
John Stedman, "being a gallant person and greatly esteemed by the King," was made a Knight of the Holy Sepulchre and had for arms:
"A cross fleury Vert in a field Or."
The order of Knight of the Holy Sepulchre was founded in 1099 for the guardianship of the Holy Sepulchre at Jerusalem and for the protection of pilgrims. The members were chosen only from pilgrims who were of the nobility. This fact attests the nobility of the family of which John was a member, and further attests that Calcarba and his children originally were pilgrims in the Holy Land. (Webster's New International Dictionary, page 1515, edition of 1915, — Order of the Holy Sepulchre.)
In 1192, soon after signing the truce with Saladin, King Richard left the Holy Land on a ship bound for England, and John Stedman was among those who accompanied him. The ship was wrecked in the Adriatic Sea near the coast of Italy; and Richard, together with his companions, undertook to travel afoot from Italy to the west coast of the European continent nearest to England. While passing through Germany, he and his companions were seized and held as prisoners, because of an offense which Richard previously had given to the Duke of Austria. In 1194 the prisoners were ransomed, and they proceeded on their way to England.
According to a tradition published in the Church Times (16 February 1906) of the Angle-Catholic Church of England, John Stedman brought with him to England a chalice made from a portion of wood cut from the cross on which Jesus was crucified. Another story is that this chalice is the Holy Grail, or cup, from which Jesus and his disciples drank at the time of the last supper in Jerusalem. The chalice later became known variously as "The Tregaron Healing Cup", "The Strata Florida Cup," and "The Nant Eos Healing Cup." Numerous persons claimed to have been healed of their diseases by drinking water from the cup. After many generations its possession passed from the Stedman family of Strata Florida, in Wales, and, in 1933, it could be seen as a relic in an old-world mansion in the Welsh village of Nanteos. (The Daily Express, 23 January 1933). The reader hereof must make his or her own decision regarding the truth of the claims for this chalice or cup.
After John Stedman (a young and unmarried man) arrived in England as one of King Richard's knights, the king gave to him a gift of land and the gift of a wife, which latter was in accordance with the custom of kings to give wives to their unmarried knights.
The land given to John Stedman was situated in County Kent, England. It evidently was a stead (or estate) which consisted of woodlands, farmlands, and buildings pertaining thereto. In the Scotch and dialectal English languages, the word stead was written such ways as, sted, stede, steed, steid, and stid. John, being thus settled on a stead/sted, became known as John le Stedman. Subsequent spellings of the surname were: le Stedeman, Stedman, Steadman, Steedman, Steidman, or Stidman, and sometimes Studman, according to fancy of the bearer.
On 9 November 1931, the late Mr. Thomas Steedman of the Cottage, Fruix, Kinross, Scotland, who then was 81 years of age, stated the following in a letter addressed to Joseph Earle Steadman:
"There is no rule for spelling names. Some people change the spelling of theirs because they think it too common; others because of a fad; the great majority because they are asses. There was an excuse for those in the 14th to 17th century. The bulk of them (at least in Scotland) could neither write nor read. That is the only excuse we can offer, but, fortunately, things are altogether different now. My cousin has changed to Stedman, for what reason no one knows. The family spelt it with two ee's for generations."
The wife given to John Stedman was Joan, daughter and heir of Sir John Tatteshall, Knight, who was a brother of Lord Robert Tatteshall and a descendant of Eudo (came to England with William the Conqueror and was granted the estate of Tatteshall in County Lincoln). Joan bore arms:
"Chequy Or and Gules, a chief Ermine," which John Stedman impaled on the left half of the shield of his own arms.
The number of children born to John and Joan is not known to this writer. However, the blazonry on the banner of one of their sons indicates that he was their seventh son. A photograph of this banner was obtained by the Reverend Melvin Lee Steadman, Jr., from a source in England. It shows the following imprinted upon the banner:
A shield, topped with an open-face knight's helmet (covered with mantling) and a lion rampant as the crest, all within an oval surrounded by seventeen couped leaves. The shield is quartered. The first and third quarters depict the arms (a cross fleury Vert in a field Or) of Sir John Stedman, the second quarter depicts the arms of his wife, and the fourth quarter depicts three roses as a mark of cadency indicating the seventh son of his parents. Two leafy branches beneath the shield, and the mantling on the helmet, are for ornamentation.
Marks of cadency are borne only during the lifetime of the son's father; therefore, it is evident that Sir John Stedman was living when the above-mentioned banner was made. The right to bear banners is confined to bannerets and persons of higher rank. (Burke, The General Armory, pp. XI, XX, and XXXIII.) The said banner perhaps was used in one of the crusades or wars occurring during the years 1228-1272.
Posted by John Lisle at 11:51 pm


The Theatre has a capacity of up to 170 and offers unique surroundings in which to enjoy a performance – where no one is ever far from the action!
Cabaret seating, with chairs around tables, offer an intimate view of the performance with a social atmosphere. The Cabaret area is situated directly in front of the stage and is unreserved. These seats are allocated on a first-come-first-served basis when the doors to the theatre open. This area is accessed from the ground floor, is fully accessible with no steps, and is where our wheelchair seating is located. Ticket numbers do not refer to a particular seat and seats booked in the cabaret have the reference X on the tickets. We recommend you arrive at least 20 minutes before the start of the show to pick your seats.
Ground floor fixed seating offers more traditional rows of theatre seating. Accessed via the ground floor, this area has three rows of comfortable tiered seating situated behind the cabaret area.
Side seats located within the fixed seating on the ground floor are available for slightly lower prices and may have a restricted view.
Accessible Seats When making a booking please let our box office staff know of any access needs you have, so they can allocate the most appropriate seats.
You can select your own seat when booking online for a performance in the theatre.
Live Theatre's studio is located on the third floor, It is usually a mix of cabaret tables and fixed seating, and sometimes a raised bank of fixed seating.
Open Mon-Fri 12 noon-5.30pm, and until 8pm when there is an evening performance.
Sat and Sun opening hours vary depending on the performance schedule.
Live Theatre is operated by North East Theatre Trust Limited, Charity No 513771.


Located in Estômbar, within 2 miles of Slide & Splash Water Park, Apartment Urbanização Boca do Rio Resort 1 offers garden views. This property has free WiFi. The 1-bedroom apartment features a kitchen with a dishwasher and a bathroom with a bath. A TV is featured. The apartment has an outdoor pool. The nearest airport is Faro Airport, 39 miles from the property.


If you want to include an interesting cultural visit during your stay in Alcaria, take a trip to Escola Superior De Educação De Faro. This library, situated in the south-east of Alcaria, features many books on the cultural heritage of Portugal. TVtrip also provides you all the tips and practical information to make your stay in Alcaria even more enjoyable! Why not consider staying near this library? Find our great selection of hotels close to Escola Superior De Educação De Faro and before making your reservation, watch our hotel videos! You'll see how the bedrooms are, if the fitness room suits you alongside the hotel's gardens.


text:
``` rust
tokio::spawn(async move {
    for port in MOST_COMMON_PORTS_100 {
        let _ = input_tx.send(*port).await;
    }
});
```
like go code:

``` go
go doSomething()
```

spawn_blocking

``` rust
let is_code_valid = spawn_blocking(move || crypto::verify_password(&code, &code_hash)).await?;
```
copy from [Async Rust: What is a runtime? Here is how tokio works under the hood](https://kerkour.com/rust-async-await-what-is-a-runtime)


Ripping a DVD to your hard drive as a MPEG file can help you back up your content while saving a bit of space. Also, the files can be used for easier playing and editing. You might be eager to know how to convert DVD to MPEG files effortlessly without quality loss. This article here will show you the best solution to rip DVD to MPEG for portable media players, video editing programs, video sharing sites, etc. Learn details.
To do the conversion, all you need is a DVD converter. Brorsoft DVD Ripperis one of the most frequently used DVD ripping tool to convert DVD movies to MPEG(MPEG-1, MPEG-2 and MPEG-4) in an amazing way. Easy-to-use interface, fast ripping speed and high output video quality make it outstanding among all the DVD rippers. Besides ripping DVD movies to MPEG, it can also help your convert DVD to all other popular video formats like MKV, WMV, FLV, MOV, MP4 AVI, etc. If you're using a Mac, simply turn to DVD Ripper for Mac to rip DVD movies to MPEG on Mac OS X (Mavericks). Download the program and finish the conversion in a few simple clicks as followed.
This step by step guide uses DVD Ripper Windows (Windows 8 compatible) version screenshots. The way to rip DVD on Mac OS X 10.9 (Mavericks) is the same. Just make sure you've downloaded the right version according to your needs.
After installation, run the program and insert the DVD disc into your computer's DVD drive. Then click Load DVD to import the DVD files. ISO and IFO files are also supported. You can then choose the subtitles and audio tracks you prefer.
This DVD to MPEG ripper comes with a built-in video editor, which allows you to customize your videos before the conversion. Click the Edit button to enter the video editing window, where you can crop videos, adjust video effects, insert subtitles and more as you like.
Choose the MPEG as output format. Click Format bar and MPEG-1, MPEG-2, MPEG-4 are provided for you in Common Video profile list. To adjust video and audio parameters like codec, aspect ratio, bit rate, frame rate, sample rate, you could click on "Settings" button.
When you're sure everything is OK, click the Start button to begin ripping MPEG video from DVD. Rip time depends upon the specifications of your system and the size of movie file. Once it's finished, you can find your ripped file in the specified directory.


LAST CALL on many of these pieces. Almost all of them are priced at wholesale pricing. What southern girl doesn't love a good clearance rack?! Yeah, you can go ahead and thank us! Then, your closet will thank you!
Update you wardrobe at a deep discount from Hazel and Mae Clearance page. From time to time we offer our quality boutique pieces at low prices to make room for our new collections. We offer great deals on dresses, tops, shorts, skirts, rompers & jewelry whenever we need the space..
This is a great opportunity for you to stock up on some of our favorite pieces at a discounted price. Check out our clearance and sale page often, as it is constantly rotating and so that you do not miss out on the best deals! Book mark our sale and clearance page for easy access. All order $75 or more ship for free!


I'm a maker and modder, I have been since I was given my first soldering iron at age 10. A few years back (about 10 I think) I was building some crazy PC cases and decided I needed to build a CNC machine. I did, then another, and another, and have not stopped.
I was asked for plans on how to build them, so I started writing books. My company and web site "Kronos Robotics" is also the name (imprint) of my publishing company.
I currently have seven CNC books published. Some I sell on my web site, others online at Amazon or Powell's Books.
I am also into a little fabrication and have a couple plasma cutters one of which is on my smallest "KRMx02 CNC" build. This was done as research into building a plasma CNC book.
I like creating build projects for CNC owners. I post them on my website. Some as workflow examples, others as complete projects with drawing files.
Hello, and welcome I guess ?
Wow, you've brought advertising to a whole new level.
Welcome Msimpson, plenty of CNC ers here.
Honestly, I tried to keep it toned down, I did not join this site to advertise. I don't need to. The last 10 years or so has been devoted to building and writing about CNC machines that is what I do, so that is what I put in my introduction.
And please, passive aggressive comments like that in an introduction forum is a little off handed. Nice way to welcome someone to a forum.
I joined primarily to jump into the CNC forums.
Sounds like you have a good knowledge of CNC. A welcome edition here.
Care to share some of your cases etc? We all like looking at other peoples work.
As far as the initial comments... I really don't mind people advertising as long as they are active members of the forum Everything ends helping in one way or the other and that is what we are here for. Right?
Sorry, no disrespect intended, but at four o'clock in the morning, I just saw your first post as a sophisticated way of advertising and promoting your products; nothing more, nothing less.
There's nothing aggressive about me, welcome to the forum.
Looking forward to seeing some of those projects in the CNC section (and elsewhere if you're subject to manual madness as well!


Switching superannuation funds is important for the consolidation of a person's superannuation benefits. It is, however, essential for an adviser to be aware of any benefits their client may lose if they switch from one superannuation fund to another. The ASIC guidelines set out the requirements when advising on switching funds. This includes ensuring that there is no loss of benefits for the client.
Your understanding of these requirements is vital when advising a client to make the correct decisions for their retirement benefits.
Discuss superannuation switching with your client.
Implement the compliance requirements when recommending switching superannuation funds.


Dirtbags Climbing sources retired, used climbing rope of all colours and conditions… and recycles them into a totally original climbing accessory. We create unique chalk bags, each one lovingly handmade in Cumbria.
A lot of outdoor recreation gear is plastic – and has a finite life – our aim is to create environmentally friendly products using locally sourced, recycled parts and materials. In doing so we can safely extend the life of our climbing gear…and it looks good too.


text:
Roscoe Riley Rules #5: Don't Tap-Dance on Your Teacher (Paperback)
By Katherine Applegate, Brian Biggs (Illustrator)
(INTERMEDIATE JUV SUB-CAT)
This is book number 5 in the Roscoe Riley Rules series.
#1: Roscoe Riley Rules: Never Glue Your Friends to Chairs (Prebound): $15.80
#2: Roscoe Riley Rules #2: Never Swipe a Bully's Bear (Paperback): $4.99
#3: Roscoe Riley Rules #3: Don't Swap Your Sweater for a Dog (Paperback): $4.99
#4: Roscoe Riley Rules #4: Never Swim in Applesauce (Paperback): $4.99
#6: Roscoe Riley Rules #6: Never Walk in Shoes That Talk (Paperback): $4.99
#7: Roscoe Riley Rules #7: Never Race a Runaway Pumpkin (Paperback): Email or call for price.
The fifth book in a hilarious chapter book series about an accidental rule breaker from Katherine Applegate, Newbery Medal–winning and bestselling author of The One and Only Ivan, Endling, and Wishtree.
Roscoe loves to make noise and tap shoes make the best noise ever! But tap dancing? The big boys at his school say that's just for girls. Roscoe promised his friend Emma that he would tap in the school talent show with her. When the teasing starts, will he keep his word?
Roscoe and his comical misadventures will appeal to fans of Megan McDonald's Stink series; Nancy Krulik's George Brown, Class Clown series; Rebecca Elliott's Owl Diaries series; and Dan Gutman's My Weirder School series.
Katherine Applegate is the author of The One and Only Ivan, winner of the Newbery Medal and a #1 New York Times bestseller. Her other books include the acclaimed Wishtree, Crenshaw, Home of the Brave, and the Roscoe Riley Rules series. She lives in California with her family. www.endlingbooks.com
Everything Goes is a series of books written and illustrated by Brian Biggs. The first books in the series, Everything Goes: On Land and Everything Goes: In the Air, are a celebration of cars, trucks, motorcycles, planes, and other things that go!
Publication Date: March 3rd, 2009
Series: Roscoe Riley Rules
Juvenile Fiction / Humorous Stories
Juvenile Fiction / School & Education
Paperback (September 20th, 2016): $5.99
Prebound (September 20th, 2016): $16.80


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text:
Кубок Азербайджана по футболу 2017/2018 () — 26-й розыгрыш ежегодного национального кубка.

Турнир стартовал двумя матчами первого раунда 11 октября 2017 года, по итогам которых определились все участники 1/8 финала.

В двух матчах 1/8 финала, сыгранных 28 ноября, «Карабах» и «Нефтчи» ожидаемо обыграли клубы Первого дивизиона. Остальные шесть матчей 1/8 финала прошли на следующий день также без неожиданностей.

В первых матчах четвертьфинала были зафиксированы минимальные победы «Зиря» над «Нефтчи» и «Габалы» над «Сабаилом», уверенная победа «Кешля» над «Кяпазом» со счётом 2:0, а также волевая победа «Карабаха» над «Сумгайытом» после проигранного первого тайма. В ответные встречах «Нефтчи» довольно неожиданно сумел отыграться после поражения в первом матче, а «Сумгайыт» и вовсе сенсационно выбил из турнира «Карабах», забив два безответных мяча в ворота лидера азербайджанского футбола. «Габала» и «Кешля» же ожидаемо без проблем провели ответные поединки, оформив выходы в полуфинал.

В первых матчах полуфинала «Кешля» в самой концовке дожала «Сумгайыт», благодаря голу со штрафного парагвайца Сесара Месы Кольи, в то время как «Нефтчи» довольно неожиданно одолел в гостях «Габалы», играя заметно лучше соперника. В ответных матчах «Габала» сумела в гостях отыграться за поражение в первой встрече, при этом пропустив уже на 9-й минуте, но затем забив три безответных гола. «Кешля» свела свой поединок к ничье и, как и «Габала», вышла в финал турнира.

В финале, проходившем 28 мая в Габале, фактические хозяева поля и фавориты избрали оборонительную тактику, выставив пять защитников, что привело к почти полному отсутствию моментов у чужих ворот. «Кешля» же на 71-й минуте поединка забила единственный в нём гол: отличился азербайджанский нападающий Фарджад-Азад. «Кешля» таким образом впервые в своей истории выиграла Кубок Азербайджана, а «Габала» в очередной раз осталась без этого трофея.

Первый раунд
Жеребьёвка первого раунда прошла 6 октября 2017 года.

Второй раунд
Жеребьёвка второго раунда прошла 6 октября 2017 года.

1/4 финала
В четвертьфинале соперники провели между собой по два матча.

1/2 финала
В рамках полуфинала соперники провели между собой по два матча

Финал

Примечания

Кубок Азербайджана по футболу
Спорт в Азербайджане в 2017 году
Спорт в Азербайджане в 2018 году
Европейские национальные футбольные кубки в сезоне 2017/2018

redpajama_set_name: RedPajamaWikipedia


Giotto computer in console with submersible pressure gauge and compass.
The Giotto Console 3 has been designed to fit the new Giotto Cressi dive computer in a modern console, which differs in form, size and weight of similar products on the market.
The different sizes of the instruments - the submersible pressure gauage and Giotto computer - have led to a console designed truly innovative and original.
The instruments are slightly tilted, which further improves the design and allows for greater readability.
The use of advanced materials such as polycarbonate and desmopan has reduced the console to a minimum thickness and weight revealing a surprising lightness. This translates to ease of use and minimum strain on the hose connection to the first HP the stadium.
The hose connection has a lower section of the standard (11 mm), to the advantage of its flexibility and lower weight.
An interface is available for all Windows and Macintosh computers.
Console with three tools: Giotto dive computers, mini-gauge and compass.


A Tribute to Emilio Navaira tickets are a member of the classical genre. With traditions in western music, classical music performances like A Tribute to Emilio Navaira have important historical significance. Don�t miss the opportunity to see A Tribute to Emilio Navaira perform live in 2019! Shop TicketNetwork.com for cheap classical tickets.


We can create a bespoke solution that will help you gain a significant advantage with both your operational processes and your sales pipeline.
Primo Dialler provide a flexible API ensuring we can integrate your existing CRM and other applications with our Diallers.
We have developed our groundbreaking predictive dialling technology solution to be extremely simple to use and work seamlessly with your business processes. However, that doesn't mean we just leave you to it! On the contrary, we are there to support you every step of the way and we won't be happy until you're happy.
When you engage the services of Primo Dialler and buy our technology we will work closely with you to make sure that you fully understand how the dialler works and how you can get the best out of the software.
When we do the initial set up with you we will give you a free half day training session about every aspect of the predictive dialler and we will walk you through different scenarios and explain precisely how it all works.
After the set up we know you will still have questions and once you are fully up and running there are bound to be things that crop up that you're unsure of and need some advice on. Our after sales service is second to none and we will be there to answer all your questions. To support you with the set up we will also provide you with easy to follow manuals and guides that show you exactly what you have to do.
At Primo Dialler we offer training on all of our products and we can either do this remotely or at your premises. If you need us for any additional training then you can book one of our support technicians for the day and they will visit you onsite to assist you with what you need.
We want your predictive dialler to be a great success and we know that good training is a vital element of this. With that in mind, we are very proactive about training and we strive hard to ensure that you are completely confident with using our technology.


Garrick is our team captain and driller and patient zero of Kubb Fever for the Kubbchucks. Garrick's backyard is perfect for a Kubb pitch.
Jamie is the blaster and is cool as ice throwing any amount of wood.
Jim is an expert cleanup man and our secret agent to infiltrate other teams psyche and start working them. Jim also brings the flag.


Ryobi's Door Closers Revolutionizing the Field with Enhanced Beauty and Functions.
Ryobi utilizes sophisticated casting and machining technologies honed from its die casting expertise, and is creating new frontiers in beauty and functionality. From the home to the office, we are offering door closers and other architectural hardware that support a comfortable lifestyle and emphasize safety.
Our door closers offer exceptional durability and attractive appearance. In 1963, Ryobi commercialized the first die cast door closer, to widespread acclaim. Numerous hit products have followed, featuring original mechanisms with superior functionality and new aluminium alloys that enhance durability.


Classic medium model is a marble lamp of cream colored amphora-shaped cut in travertine. The shade of rectangular section is in cream taffeta white inside whose edges are underlined with a coordinated braid. The shallow depth of its lampshade makes it possible to install it on a narrow piece of furniture. The foot, empty in the middle, is crossed by the supply cord cream fabric and that's what makes it all its originality. The lampshades, made in carefully selected fabrics, lined and braided, also contribute to the refinement of this range. It comes in three collections: Classic, Contemporary and Deco. The Classic collection also includes two other models of lamps 15070100 and 15070102, a wall light 15070103, a single suspension 15070104, a double suspension 15070105 and a lamp post 15070106. This collection is made entirely by hand, many customizations are possible, contact us.
Light source: E27 bulb max 100W or equivalent LED to buy separately.


text:
Back to Insights
M&A deal-making is poised to have a significant influence in shaping priorities after the COVID-19 crisis. Learn more about M&A in the post-COVID-19 world.
The pandemic has triggered a change in how we think about office work, and the growing flexible workspace industry offers a solution. If the past year has tested anything on a global scale, it has been our ability to improvise and adapt, creating a demand for...
3 Key Strategies for Overcoming Supply Chain Challenges
As companies grow, so does the complexity of their supply chains. CEO of Terra Exports, Nils Goldschmidt, highlights 3 key strategies for overcoming and managing the challenges and risks associated with global, and local, supply chains. With recent travel...
Antitrust and Compliance Laws: Protecting Suppliers in the Digital Age
In recent years, the likes of Amazon and, most recently, Alibaba have hit headlines in relation to antitrust and compliance laws, or their lack thereof, to protect suppliers. CEO and founder of Opportunity Network, Brian Pallas, shares his opinion on how regulations...
The Future of Hospitality: Turning Distress into Opportunity
How can the hospitality industry uncover opportunities for recovery and thrive in the new normal? With over 15 years' experience in the industry, Andrew Landsburgh shares how he has adapted his businesses in order to keep operations flowing during COVID-19. This...
How A Major Animation Studio Reinvented Itself Amid COVID-19
The entertainment industry has seen a shift in media consumption, significant revenue decline, and content supply shortages. Despite this, top global animation studio, Toonz, has found new opportunities through the integration of digital platforms and remote...
Leverage Digital Tools in Traditional Sectors: a Tech CEO's Key to Growth
Discover how South Africa-born Multinational Holding Company, CG Tech, is using digital technology to drive growth in traditional sectors like Oil & Gas, Construction and Events. This article will take about 3 minutes to read As far as global and varied...
How a Traditional Retailer Began Making 70% of its Profits Through E-commerce
From stores to e-commerce to printed catalogs, Spanish fashion retailer Venca demonstrates how companies can leverage the best of both digital and traditional methods. This article will take about 3 minutes to read While the global COVID-19 pandemic forced stores to...
Robotics: From Sci-Fi Sidekick to Your Next Investment Opportunity
As an independent entrepreneur who has achieved success in a variety of endeavors, Joe Tagliente credits some of his latest success to robotics and digitization. This article will take about 2 minutes to read The COVID-19 crisis has been a wake-up call for the...
How a Tony Award-winning Broadway Producer Went Digital Amid COVID-19
As theatres closed around the world, actors, directors, and producers were put out of work and audiences were without entertainment. With no return date in sight, Broadway producer and Opportunity Network member, Sue Gilad, did what she does best. She got creative,...
Sen-Jam Pharmaceutical Secures Funding for COVID-19 Treatment
Sen-Jam Pharmaceutical is revolutionizing pain management by treating inflammation as a root cause. From the opioid crisis to the COVID-19 pandemic, Sen-Jam is at the forefront of creating safe and cost-effective pain relievers. This article will take about 5 minutes...
Innovation: An Entrepreneur's Key to Successful Business
As a serial entrepreneur with a varied career history, Ariel Shlien largely credits his success to his focus on innovation. From an educational program company through to a family office, Shlien's past businesses have crossed a wide range of industries. The aspect...
The Productivity Crisis & How it's Affecting your Company
Managing Director and Senior Partner at BCG, Yves Morieux speaks on the productivity crisis and the need for collaboration within companies. This article will take about 3 minutes to...
How a Spanish Real Estate Developer Succeeded by Betting on Senegal
Ricard Camp, Managing Director at Kalia Against all odds, a Spanish real estate developer decides to invest in Senegal. 6 years later, he shares his lessons learned on doing business in the country and his view on its future. By trusting his father's entrepreneurial...
Weekly analysis, news, and expert advice for global leaders seeking to unlock their business potential.
Investing in Cannabis: How to Minimize Risk & Maximize Profit
A year ago, the global legal cannabis market was valued at USD 17.5 billion. In 2027, the market value is predicted to reach a staggering USD 65.1 billion. 3 CEOs explain why the opportunity for investment is huge and how to securely maximize profit. The global...
Automated Data Analytics: The Future of Decision Making
Ever lost important data points, conversations, and assumptions in your endless email threads or chats? Ever witnessed your carefully crafted business model being turned into a mess of broken cells and unreliable inputs as the spreadsheet is being bounced around...


text:
Q: How std::function works You know, we can wrap or store a lambda function to a std::function:
#include <iostream>
#include <functional>
int main()
{
    std::function<float (float, float)> add = [](float a, float b)
    //            ^^^^^^^^^^^^^^^^^^^^
    {
        return a + b;
    };

    std::cout << add(1, 2) << std::endl;
}

My question is around std::function, as you can see it is a template class but it can accept any kind of function signature.
For example float (float, float) in this form return_value (first_arg, second_arg).
What's the structure of std::function and how does it accept a function signature like x(y,z) and how it works with it? Is float (float, float) a new valid expression in C++?

A: It uses some type erasure technique.
One possibility is to use mix subtype polymorphism with templates. Here's a simplified version, just to give a feel for the overall structure:
template <typename T>
struct function;

template <typename Result, typename... Args>
struct function<Result(Args...)> {
private:
    // this is the bit that will erase the actual type
    struct concept {
        virtual Result operator()(Args...) const = 0;
    };

    // this template provides us derived classes from `concept`
    // that can store and invoke op() for any type
    template <typename T>
    struct model : concept {
        template <typename U>
        model(U&& u) : t(std::forward<U>(u)) {}

        Result operator()(Args... a) const override {
            t(std::forward<Args>(a)...);
        }

        T t;
    };

    // this is the actual storage
    // note how the `model<?>` type is not used here
    std::unique_ptr<concept> fn;

public:
    // construct a `model<T>`, but store it as a pointer to `concept`
    // this is where the erasure "happens"
    template <typename T,
        typename=typename std::enable_if<
            std::is_convertible<
                decltype( t(std::declval<Args>()...) ),
                Result
            >::value
        >::type>
    function(T&& t)
    : fn(new model<typename std::decay<T>::type>(std::forward<T>(t))) {}

    // do the virtual call
    Result operator()(Args... args) const {
        return (*fn)(std::forward<Args>(args)...);
    }
};

(Note that I overlooked several things for the sake of simplicity: it cannot be copied, and maybe other problems; don't use this code in real code)

redpajama_set_name: RedPajamaStackExchange


Kris Howard has been building websites in one form or another for over twenty years. She's been a developer, a business analyst, and a manager; and most recently wrangled engineers at Canva, one of Australia's fastest growing startups. She now heads up Developer Relations for YOW! Conferences, meeting and working with tech teams around the APAC region. She's spoken at meetups and events across Australia and Asia, including TEDx Melbourne. Her Instagram account is pretty much all selfies and food.


Tired of the same old drab, big box store shelves? Looking for something with more personality? DIY those wall shelves! You can add so much character and style to your home with the right shelves. When you make them yourself, you're able to customize to get just the right size, fit and look. Want something rustic? Eclectic? Modern? Traditional? Well, we've got DIY shelving ideas – big and small – for any style home. Here are some of our favorites.
These log wall shelves look like a piece of the forest right on your wall. They're so rustic and unique.
Use simple black brackets and distressed wood to make these stylish shelves.
These floating rustic shelves have so much character – they are super narrow so fit in small spaces, and the wood is recycled.
Here are some rustic shelves with touches of modern elements that give them an updated feel – with the clean, light wood shelves and the geometric background, the industrial metal stands out.
Use plywood instead of reclaimed boards to make create an even more industrial feeling with your pipe shelves.
Mini industrial shelves are perfect for displaying small items.
Make chunky corbels for your distressed shelves for an authentic farmhouse feel.
Painted corbels matched with the stained wood shelves look AMAZING.
Make your own thin corbels, and rock the two-toned look with farmhouse inspired open shelving like this.
You can make the whole shelving wall – corbels and everything – out of the same reclaimed lumber! Talk about stretching your dollar!
With thicker wood and pre-cut brackets, you can have a more traditional farmhouse look. Pair them with a cute cabinet for closed storage.
These open shelves have a cool twist – the brackets are actually from a handrail system! A clever and unique re-imagining.
A chunky, rustic wall shelf unit is great in a bathroom or entryway.
10 Ways To Refashion A T-Shirt!


text:
Global Cues and Q1 Earnings Will Set Market Trend – Weekly Equity Market Analysis
by CSS Nikhil Bhargav
This week key event will be Fed interest rate decision and first estimate of GDP growth for Q2. FIIs/FPIs have bought shares worth Rs.29.77 billion (Indian Equity Market) till date in this month.
Last week, the share price of Reliance Industries surged after posting strong quarterly results and after announcing the launch of a low-cost 4G mobile phone. On the launch of Reliance's new 4G low-cost mobile phone, the share price of Bharti Airtel and Idea Cellular slumped by 2% and 3% respectively. The Stock price of ITC fell by 14% in last week after the Government has decided to charge increased cess of 5% GST on cigarettes.
The Nifty Index futures witnessed fall in open interest by 16% for the July series. There was a rise in open interest by 49% and 10% for August and September series in the last week. Implied volatility(IV) rose for put option and call option in the last week. Rise in IV for put and call option shows steady support for Nifty at present levels.
The Bank of Japan left its key short-term interest rate unchanged at -0.1% at its July 2017 policy-meeting, as widely expected. Policymakers also kept its 10-years government bond yield target around 0% but said they pushed back again the timing for achieving its 2% inflation target to sometime during Fy19. Meanwhile, in a quarterly review of the central bank's forecasts, it said the recent development in the CPI had been relatively weak, as evidenced by tepid price rise.
Japan's trade surplus down by 36% (Y-o-Y) to JPY 439.91 billion in June 2017 and below market expectation of a surplus of JPY 484.7 billion. Exports rose 9.7% (Y-o-Y) to JPY 6607 billion while imports jumped 15.5% (y-o-Y) to JPY 6167.6 billion.
The ECB held its benchmark refinancing rate at 0% on 20th July 2017, as widely expected, and confirmed the net asset purchases are expected to run at the current monthly pace of 60 billion Euro until the end of December 2017. Policymakers also mentioned that economic and monetary analysis confirm the need for a continued very substantial degree of monetary accommodation.
The number of Americans filing for unemployment benefits decreased by 15,000 to 233,000 in the week ended 14th July 2017 from the previous week's revised level of 248,000, way below market expectations of 245,000.
Stocks of crude oil in the US fell by 4.727 million barrels in the week ended 14th July 2017, following a 7.564 million drop in the previous period and higher than market expectations of a 3.214 million decline.
The Greece current account deficit widened to EUR 581.6 million in May 2017 from a EUR 457.3 million shortfall a year earlier.
Wall Street closed modestly down on 21st July 2017, as Sean Spicer resigned as White House press secretary amid an investigation into US President Donald Trump. Within earnings season, General Electric dipped 2.9% on Friday after posting weak earnings and adjusting guidance downwards. On weekly basis, Dow jones fell by 0.26%, S&P 500 rose by 0.54% and Nasdaq rose by 1.19%.
The Sensex and Nifty gained by 0.03% and 0.29% respectively in the last week.
Yes Bank has received USD 150 million funding from the US government and Wells Fargo to increase lending to support women entrepreneurs and small and medium-sized enterprises (SMEs) in India. OPIC will provide USD 75 million in financing and up to USD 75 million in syndicated financing jointly arranged by Wells Fargo Bank to Yes Bank. Share price of Yes bank rose by 0.30% in last week.
Reliance Industries will buy 24.9% stake in Balaji Telefims for an investment of Rs. 4.13 billion. Balaji Telefilms will issue 0.025 billion worth preference shares at Rs. 164 per share to Reliance Industries. The promoter and promoter group of Balaji Telefilms shareholding is likely to come down to 32.5% post the share sale. Share price of Reliance Industries rose by 4% in last week.
The union cabinet has approved the plan to sell the government's 51.11% stake in HPCL (Hindustan Petroleum Corporation Ltd) to ONGC on 19th July 2017. Post announcement of this approval, share price of ONGC rose by 1.60% and that of HPCL fell by 4%. As per 20th July 2017 closing price, ONGC has to pay the government Rs.285 billion for the purchase of 51.11% stake.
Click here to read our analysis on "ONGC & HPCL Mega Merger – Government Gains at expense of HPCL, ONGC Minority Shareholders"
Our model Twelve Stock Retirement Portfolio has given a one-year return of 43% and has outperformed the benchmark Sensex by 28%.
On a weekly basis, Twelve Stock Portfolio has gained by 3% in value and the Benchmark BSE Sensex has gained by 0.03%. The Portfolio outperformed the benchmark by 3%.
The Nineteen Stock Portfolio has given a one-year return of 44% and has outperformed the benchmark BSE 500 by 23%.
On a weekly basis, the Nineteen Stock Portfolio has gained 1.7% in value and the Benchmark BSE 500 has gained 0.32%. The Portfolio outperformed the benchmark by 1.41%.
Our Shariah Twelve Stock Model Retirement Portfolio has given one-year return of 54% and has outperformed the benchmark by 38%.
On a weekly basis, Shariah Twelve Stock Model Retirement Portfolio has gained 1.65% in value and the Benchmark Sensex has gained by 0.03%. The Portfolio outperformed the benchmark by 1.62%.
On a weekly basis, Ten Stock Growth Portfolio has gained 4.2% in value and the Benchmark Sensex has gained by 0.03%. The Portfolio outperformed the benchmark by 4.23%.
Our Global Ten Stock Model Retirement Portfolio has given one-year return of 31% and has outperformed the benchmark S&P 500 index by 17%.
On a weekly basis, Global Ten Stock Model Retirement Portfolio has gained 1.6% in value and the Benchmark S&P 500 has gained by 0.54%. The Portfolio outperformed the benchmark by 1.03%.
Industry and Stock Specific trends
The sectoral indices closed in positive territory last week. The S&P Auto, Bankex, IT, PSU and Oil & Gas indices rose by 0.66%, 1.36%, 2.70%, 0.36% and 1.05% respectively in last week.
Reliance Industries witnesses highest rise in turnover in Stock Derivatives
Reliance Industries witnesses rise in turnover in Stock Derivatives
Reliance Industries has witnessed rise in open interest in the stock future segment in the last week. Share price of Reliance Industries rose by 2.52% in last week. Reliance Industries management has reported Q1Fy18 results, income rose by 26% (Y-o-Y) to Rs. 926 billion and net profit rose by 28% (Y-o-Y) to Rs. 91 billion. Gross refining margins (GRM)stood at USD 11.9 per barrel, rose marginally by 3.4% (Y-o-Y). On 21st July 2017, Reliance had held its AGM in Mumbai, company management has introduced Jio phone with attractive price and also announced 1:1 bonus issue.
Foreign Institutional Investors (FIIs) Derivative Statistics have shown rise in the open interest across Index Options, Index futures and Stock Options on a week on week basis. Stock Futures witnessed fall in open interest on weekly basis.
Indian rupee appreciated by 0.440% against USD, USD/INR pair closed at 64.45.
C S S Nikhil Bhargav is a Research analyst for investors are idiots .com . He is a BFM ( Bachelors in Financial markets ) Graduate from University of Mumbai and Post-Graduate in Securities Markets from National Institute of Securities Markets, Mumbai.
Glocal Cues, Union Budget Outcome & Macro-Economic Data will Set Trend for Sensex & Nifty – Weekly Equity Markets Analysis
Facebook to Bring Crypto's into the Mainstream
F&O Expiry, G-20 Meet and Union Budget Expectations will Set Trend for Sensex & Nifty – Weekly Equity Markets Analysis
Global Cues will Set Trend for Sensex & Nifty – Weekly Equity Markets Analysis
Macro-Economic Data & Global Cues will Set Trend for Sensex & Nifty – Weekly Equity Markets Analysis
RBI Monetary Policy Outcome & Global Cues will Set Trends for Sensex & Nifty – Weekly Equity Markets Analysis
Macro-Economic Data Outlook will Decide Trends for Sensex & Nifty – Weekly Equity Markets Analysis
Investors, Brace Yourself for a Bumpy Ride – Weekly Equity Markets Analysis
Volatility is Likely to Persist – Weekly Equity Markets Analysis


Bidhan Chandra Roy, was a renowned and well respected freedom fighter. His birthday falls on 1-July which is celebrated as Doctor's day in India. 1-July also happens to be his death anniversary.
He held M.R.C.P., F.R.C.S. and was amongst few students who managed to simultaneously complete these. Dr. BC Roy is a Bharat Ratna, the highest civilian award in India. He is credited to be the chief architect of West Bengal.
He is renowned to have founded five cities, Durgapur, Kalyani, Bidhannagar, Ashokenagar, Habra.
And was the second Chief Minister of West Bengal in India for a glorious 14 years as an during his tenure of 1948 to 1962; India misses people of his stature especially in the medical field.
Long gone are the days of respected and loved family physicians. DR. BC Roy had a sound upbringing. His father encouraged him to think independently and be responsible for his choices. Thus, when he got selected for both Engineering and Medical streams, he selected medicine and proved his skills in it.


text:
John T. Wood may refer to:

 John Taylor Wood (1830–1904), U.S. Navy, Confederate Navy
 John Travers Wood (1878–1954), U.S. Representative from Idaho
 John Turtle Wood (1821–1890), British architect, engineer, and archaeologist

See also
 John Thomas Archer Wood (c. 1872–1954), English footballer


I didn't have any trouble at all reading what he said. Did you? The upshot is that you needn't worry about things you can't change. Concentrate on the things you can change, but do it realistically. This comic is from Chris Hallbeck at Maximumble.


text:
The Nutty Professor Soundtrack is the soundtrack to Tom Shadyac's 1996 comedy film The Nutty Professor. It was released in June 1996 via Def Jam Recordings, and contained hip hop and R&B music.

The album fared well on the Billboard charts, peaking at #8 on the Billboard 200 and #1 on the Top R&B/Hip-Hop Albums and featured several charting singles: "Ain't Nobody" by Monica featuring Treach of Naughty By Nature, "I Like" by Montell Jordan featuring Slick Rick, "Ain't No Nigga" by Jay-Z featuring Foxy Brown, "Touch Me, Tease Me" by Case featuring Mary J. Blige and Foxy Brown and "Last Night" by Az Yet all made it to the charts with "Last Night" making it to #9 on the Billboard Hot 100. The two tracks "Come Around" by Dos of Soul and "My Crew Can't Go For That" by Trigger tha Gambler featuring DV Alias Khrist and Smoothe da Hustler. This is not actually the soundtrack to the film, but actually 'music inspired by' the film as stated on the reverse side of the CD. None of the tracks listed here appeared in the music credits of the film.

Track listing

Notes
 signifies a co-producer

Charts

Weekly

Year-end

Certifications

See also
List of Billboard number-one R&B albums of 1996

References

External links

1996 soundtrack albums
Hip hop soundtracks
Comedy film soundtracks
Albums produced by Jaz-O
Albums produced by Warren G
Contemporary R&B soundtracks
Albums produced by Cory Rooney
Def Jam Recordings soundtracks
Albums produced by 4th Disciple
Albums produced by Erick Sermon
Albums produced by Rashad Smith
Albums produced by Dallas Austin
Science fiction film soundtracks
Albums produced by DeVante Swing
Albums recorded at Chung King Studios
Albums produced by Babyface (musician)


To quote Billy Joel "I think music in itself is healing. It's an explosive expression of humanity. It's something we are all touched by. No matter what culture we're from, everyone loves music." I definitely agree with this assessment and most of you who regularly read this blog know that my love for music runs deep, so I'm sharing another batch of random but nteresting Rock Music Facts with you today.
1. Axl Rose used to earn $8 an hour for smoking cigarettes for a science experiment at UCLA.
2. Ten out of the fourteen songs which comprise the Beatles first album "Please Please me" were recorded in little over twelve hours.
3. The rock band Foreigner came up with the idea for their name at the suggestion of Mick Jones. This was because half of the band was English while the other half was American.
4. Prior to April 1966, David Bowie had recorded under the name of Davy Jones and The Lower Third.
5. Janis Joplin left $1500 in her will for a funeral party. It was held at The Lion's Share in San Anselmo, California, on October 26, 1971. The Grateful Dead performed.
6. Deep Purple was originally signed to the Tetragrammaton label, a US-based company owned by comedian Bill Cosby.
7. Sid Vicious died from an overdose of heroin that was bought for him by his mother, who was present when he injected it.
8. In 1976 Bruce Springsteen was ejected by security guards at Elvis Presley's Graceland home after climbing over the wall to get inside to meet Elvis.
9. 'Bohemian Rhapsody' by Queen which contains the famous "mamma mia, mamma mia, mamma mia let me go" line, was knocked off the No.1 position on the UK chart by Abba's 'Mamma Mia'(January 1976).
10. While he was in grade school, Chuck Berry went out with a girl who was studying to be a nurse. According to Berry, the girl tricked him into being circumcised.
Well, there you have it, 10 Random and Interesting Rock Music Facts. Hope you have learned something you did not know. If you've found something interesting, feel free to share this article with your friends on Facebook and Twitter. Sharing is caring after all.
Watch this space for regular updates in the Facts and Music categories on Running Wolf's Rant.


text:
require_relative 'support/identifiable_collection_view_examples'

describe Nanoc::Core::ItemCollectionWithoutRepsView do
  let(:view_class) { Nanoc::Core::BasicItemView }
  let(:collection_class) { Nanoc::Core::ItemCollection }

  it_behaves_like 'an identifiable collection view' do
    let(:element_class) { Nanoc::Core::Item }
  end

  describe '#inspect' do
    subject { view.inspect }

    let(:wrapped) do
      Nanoc::Core::ItemCollection.new(config)
    end

    let(:view) { described_class.new(wrapped, view_context) }
    let(:view_context) { nil }
    let(:config) { { string_pattern_type: 'glob' } }

    it { is_expected.to eql('<Nanoc::Core::ItemCollectionWithoutRepsView>') }
  end
end


text:
#ifndef __STACK_H__
#define __STACK_H__

#include <stdint.h>

struct list_bucket
{
    int16_t type;
    void* element;
};

typedef struct generic_list_s{
  void** array;
  int8_t with_type;
  int32_t start;
  int32_t count;
  int32_t capacity;
} list;

typedef struct generic_list_iterator_s{
  uint32_t pos;
  struct generic_list_s* list;
} generic_list_iterator;

typedef struct generic_list_s stack;
typedef struct generic_list_s queue;

extern uint8_t generic_list_is_empty(struct generic_list_s* l);
extern int32_t generic_list_get_count(struct generic_list_s* l);

extern struct generic_list_s *new_generic_list(int32_t initial);
extern struct generic_list_s *new_generic_list_with_type(int32_t initial);
extern stack* new_stack(int32_t initial);
extern queue* new_queue(int32_t initial);

extern void* set_element_with_type_at(list *l, void* obj, int16_t type, int32_t pos);
extern void* set_element_at(list *l, void* obj, int32_t pos);

extern void insert_element_with_type_at(list* l, void* obj, int16_t type, int32_t pos);
extern void insert_element_at(list* l, void* obj, int32_t pos);

extern void sorted_insert_element_with_type(list* l, void* obj, int16_t type, int(*compare)(void* o1, int16_t type1, void* o2, int16_t type2));

extern void append_element_with_type(list* l, void* obj, int16_t type);
extern void prepend_element_with_type(list* l, void* obj, int16_t type);

extern void add_element_with_type(list* l, void* obj, int16_t type);
extern void add_element(list* l, void* obj);

extern void* get_element_at(const list* l, int32_t pos);
extern void* get_element_with_type_at(const list* l, int32_t pos, int16_t* type);

extern int get_element_pos(const list* l, void* el);

extern int32_t remove_element(list *l, void* obj);
extern int32_t remove_all(list *l, void* obj);
extern void* remove_element_at(list* l, int32_t pos);

extern void enqueue_with_type(queue* q, void* obj, int16_t type);
extern void enqueue(queue* q, void* obj);
extern void* dequeue(queue* q);

extern void push_stack_type(stack* s, void* obj, int16_t type);
extern void push_stack(stack* s, void* obj);
extern void* pop_stack(stack* s);

extern list* remove_duplicates(list* l);

extern int16_t peek_element_type_at(list* l, int32_t pos);
extern int16_t peek_stack_type(stack *s);
extern int16_t peek_queue_type(queue *s);

extern struct generic_list_s *merge_lists(struct generic_list_s *l1, struct generic_list_s *l2);

extern struct generic_list_s *duplicate_generic_list(const struct generic_list_s*);
extern void destroy_generic_list(struct generic_list_s *s);

extern generic_list_iterator* new_generic_list_iterator(struct generic_list_s*);
extern uint8_t generic_list_iterator_has_next(generic_list_iterator* i);
extern void* generic_list_iterator_next(generic_list_iterator* i);
extern void destroy_generic_list_iterator(generic_list_iterator* i);
#endif