text:
Q: How do I intersect two lists in OCaml? When I have two lists in OCaml, for example
e1 = [3; 4; 5; 6; 7]

and
e2 = [1; 3; 5; 7; 9]

Is there an efficient way to get the intersection of those two lists?
I.e.:
[3; 5; 7]

Because I don't like scanning every element in list e2 for every element in list e1, thus creating a big Oh of order n^2.

A: As Franck and Rémi said, converting your lists to sets (from stdlib module Set) costs n log(n), and then Sets provides a linear implementation of intersection. Franck also mentioned the equivalent alternative to sort the lists, and then traverse them in a synchronized way. These are roughly the same (and by the way, in both cases you need to be able to provide a total ordering on the elements in your lists).
If intersections are an important part of your algorithm and you want them to be faster in the case of two sets of elements that are only slightly different, you need to switch to a mergeable structure such as Patricia trees. See files pt* in http://www.lri.fr/~filliatr/ftp/ocaml/ds/ .
If you need intersection to be fast in all cases, you have the possibility to use hash-consed Patricia trees. Hash-consing helps to recognize structurally identical sub-trees, and help to build efficient caches for previous operations by making comparison cheap.
Patricia trees can not use an arbitrary type as key (typically they are presented with ints as keys). But you can sometimes work around this limitation by numbering at creation each value you intend to use as a key.

A: My OCaml isn't the best, but I hacked this function together which will intersect sorted lists:
let rec intersect l1 l2 =
    match l1 with [] -> []
        | h1::t1 -> (
          match l2 with [] -> []
              | h2::t2 when h1 < h2 -> intersect t1 l2
              | h2::t2 when h1 > h2 -> intersect l1 t2
              | h2::t2 -> (
                match intersect t1 t2 with [] -> [h1]
                    | h3::t3 as l when h3 = h1 -> l
                    | h3::t3 as l -> h1::l
              )
        );;

which should run in O(n+m) time.  Basically it checks the first element of each list.  If they are equal, it stores the result of the recursive call to their tails, and then checks to see if the head of the stored result is equal to the heads of the lists.  If it isn't, it inserts it, otherwise it's a duplicate and it ignores it.
If they aren't equal, it just advances whichever one is smaller.

A: I don't know OCaml (syntax-wise), but generally you can do this in two ways:

*

*If your language has support for a Set-datastructure, then convert both lists into Sets and use the set-intersection operation.

*More generally: Sort both lists, then scan the sorted lists, which makes finding the duplicates much more efficient. You take n log(n) for sorting and can find the duplicates in linear time then.

A: As @Frank suggested, you can use sets to solve this problem, although it is not the best answer ever, but here is a short code listing demonstrating how this could be achieved in OCaml :
module Int_set = Set.Make (struct
                             type t = int
                             let compare = compare
                           end);;

(* iters through a list to construct a set*)
let set_of_list = List.fold_left (fun acc x -> Int_set.add x acc) Int_set.empty;;

let e1 = [3; 4; 5; 6; 7];;
let e2 = [1; 3; 5; 7; 9];;

let s1 = set_of_list e1;;
let s2 = set_of_list e2;;

(*result*)
let s3 = Int_set.inter s1 s2;;

(*testing output*)
Int_set.iter (fun elt -> print_int elt;print_string "\n") s3;;

The output is :
3
5
7
- : unit = ()

A: If your lists only contains integers of a limited size, there is also a solution in O(n):
1.) Create an array of booleans of the size of you largest integer value plus 1 in your original lists (e.g. in your example '9+1'); set all fields to false;
let m = Array.create 10 false
-> [|false; false; false; false; false; false; false; false; false; false|]
2.) Iterate over the first list: For every element you encounter, set the boolean with the respective offset to 'true'; in your example this would yield
List.iter (fun x -> m.(x) <- true) e1
-> [|false; false; false; true; true; true; true; true; false; false|]
3.) Filter over the second list, keeping only those elements of which the corresponding field in the array is true
List.filter (fun x -> m.(x) = true) e2
-> [3; 5; 7]

A: I do not think my solution is O(n), but it is very short, and might be interesting for people who are not limited by complexity constraints (As this answer is one of the first search results for "Ocaml intersect list")
This function returns true when the intersection is not empty. In other words, it checks if two lists share elements, if yes, true, else false.
let intersect l1 l2 =
    List.fold_left (fun acc x -> if (List.exists (fun y -> y = x) l1) then true else acc) false l2;;

Very similarly, this function returns the actual intersection.
let intersect l1 l2 =
    List.fold_left (fun acc x -> if (List.exists (fun y -> y = x) l1) then x::acc else acc) [] l2;;

Feel free to correct me if my soluton is not correct. It should be polymorph, as x and y can be any type that can be compared.

A: As a previous poster said, this is one of the first search results for "intersect lists in OCaml," so I'm posting a simple answer here that doesn't address concerns about complexity.
    # let e1 = [3; 4; 5; 6; 7];;
    # let e2 = [1; 3; 5; 7; 9];;
    # List.filter (fun x -> List.mem x e1) e2;;
    - : int list = [3; 5; 7]
    #


text:
SA artistes for Maseru festival
By Lesotho Times On May 5, 2017
Jaziel Brothers
MASERU is set to come alive with the Heroes' Festival, a music concert featuring local and South African heavyweights at Setsoto Stadium on 27 May.
South African stars such as the Jaziel Brothers, Anatii, Witness The Funk (WTF), Mpumi and Heavy K will share the stage with local acts such as J-Cob, Mega Hertz, Yemba Shungu, Kta Kings, African Child, Nobi Boi, Danny The DJ and Infinity with Mavele, Pearl and Modidi as the hosts.
The event, which is aimed at commemorating the country's golden jubilee of independence, is sponsored by non-profit organisation, HEERO (Health, Education, Employment and Reconciliation Organisation) whose mandate is to empower the youth in different sectors of life.
HEERO representative, Ntṧepa Motlomelo this week told the Weekender that although Lesotho celebrated 50 years of independence last year, they saw it fit to stage the youth-themed music festival to cater for that segment of the population.
"Through this festival we want to give the youth the opportunity to mark the 50th independence celebrations as there was very little to cater for them during last year's celebrations," Motlomelo said.
"It was declared that the celebrations would continue until 4 October this year when the country turns 51 and so we are on time.
"We will start by commemorating our heritage through presentations and cultural activities before the music performances."
Motlomelo said her organisation would continue to empower the youth through other initiatives before and after the music festival.
"We have billed more local artistes than foreign acts in order to empower our own as we believe it is high time they made a living from their talents.
"We will also have other initiatives and we will start with a career guidance session on 13 May in Ha Thetsane and thereafter, in other parts of the country after the show," she said.
Meanwhile, the multi-award winning Afro Pop duo Jaziel Brothers, Hip Hop musicians Anatii and trio WTF will be making their debut appearances in Lesotho.
Dunamis lines celebratory bash
LAAA's uphill battle ahead of world champs

redpajama_set_name: RedPajamaCommonCrawl


PRESS RELEASE / MEDFIELD, MA – December 12, 2017 – ZēLUS, a Massachusetts-based company that creates brews for people with a passion for physical activity and great craft beer, today announced its two latest offerings: LIGHT INTO DARK, a winter porter, and RACE PACE, a New England-style ale. The two brews join the ZēLUS line of craft beers that are naturally made via a patent-pending special brewing process. The result is the perfect thirst-quenching drink for after a run, cycle, or a hike in the woods.
Across the country, a growing number of people are getting involved in competitive athletic events and physically challenging outdoor sports, from 5Ks to marathons, obstacle course races, and long-distance hikes. At the same time, the number of craft brewers has exploded as well. It's clear that there is a large cross-section of people with a passion for living an active life and enjoying a refreshing beer. ZēLUS has created a product that connects these passions.
ZēLUS set out to design beer for athletes and those who like to be active in the great outdoors. The goal was to create beer that rehydrates and delivers good flavor. LIGHT INTO DARK blends a pale malt with a combination of crystal, Munich, and chocolate malts into a winter porter. RACE PACE is a hybrid beer, combining a classic English mild recipe with the popular heavy-handed dry hopping of a New England IPA. All ZēLUS beers contain potassium, sodium, calcium, and magnesium and are brewed with a patent-pending special process that enhances flavor and drinkability and provides a lower ABV (alcohol by volume) to deliver a refreshing experience.
ZēLUS hosts beer tastings regularly at bars and liquor stores, and sponsors and supports many races and sporting events across Massachusetts. Check out www.zelusbeer.com or https://www.facebook.com/zelusbeercompany/ for information on upcoming opportunities to test out LIGHT INTO DARK, RACE PACE, and other ZēLUS brews.
ABOUT ZELUS ZēLUS is a Massachusetts-based craft brewer that aims to connect people with a passion for craft beer and an active lifestyle. Named after the Greek spirit of contest and rivalry, ZēLUS beers are created to be enjoyed after zealous endeavors. The company has designed beer for active people with the goal of creating brews that both rehydrate and enhance flavor through the use of high-quality ingredients and a natural brewing process. ZēLUS products are available at bars and liquor stores across Eastern Massachusetts. More information is available at www.zelusbeer.com.


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text:
ensuring right to a healthy environment
Senate gives support to Sen. Maxmin's Pine Tree Amendment
AUGUSTA — The Maine Senate voted Wednesday in favor of the Pine Tree Amendment, sponsored by Senator Chloe Maxmin, D-Nobleboro. LD 489, "RESOLUTION, Proposing an Amendment to the Constitution of Maine To Establish a Right to a Healthy Environment," received unanimous support in an initial vote.
As amended, LD 489, the Pine Tree Amendment, would amend the Constitution of Maine to grant the people of the state a right to a clean and healthy environment and to the preservation of the natural, cultural, and healthful qualities of the environment. This groundbreaking bill would protect the environment for Maine people, recreational enthusiasts and workers who rely on Maine's natural resources to make a living.
"Here in Maine, our economy and our way of life are tied to our environment — from our pristine forests to our working waterfronts. But the right to a healthy environment isn't something we're guaranteed. The Pine Tree Amendment would fix that," said Sen. Maxmin. "This bill would ensure Mainers can enjoy and count on our natural resources for generations to come, regardless of changes in the political tides. I'm grateful to my fellow senators who supported this bill."
This legislation is co-sponsored by House Assistant Majority Leader Rep. Rachel Talbot Ross, D-Portland; Rep. Bill Pluecker, I-Warren; Sen. Richard Bennett, R-Oxford; Sen. Russell Black, R-Franklin; Rep. Maggie O'Neil, D-Saco; Rep. Scott Landry, D-Farmington; and Rep. Laurie Osher, D-Orono.
"The right to breathe clean air and drink clean water should be as fundamental as our right to vote. The Pine Tree Amendment further instills trust in our government to protect Maine's natural resources for generations to come," said Maureen Drouin, Executive Director of Maine Conservation Voters.
Similar Constitutional amendments have been passed in Pennsylvania and Montana. There are active proposals in New Jersey, New York, New Mexico, Hawaii, Oregon, Washington, Maryland, Kentucky, Vermont and West Virginia, led by an organization called Green Amendments for the Generations.
LD 489 faces further votes in the Legislature. Constitutional amendments require two-thirds approval in both the Senate and House, and approval from a majority of Maine voters.


text:
Liam Gillick > Texts >
< Back to Texts
From Quebec 1907 to Stockholm 2000
What If We Attempted to Address That Which Seems So Apparent? 2000
Catalogue text for exhibition What If. Art at the verge of architecture and design, Moderna Museet, Stockholm
The exhibition What If. Art at the verge of architecture and design was curated by Maria Lind at the Moderna Museet in 2000. The exhibition structure was the result of a close collaboration between Maria Lind and myself. This text was one of the final catalogue texts. The catalogue was designed by Pae White and consisted of loose texts in a box.
'I'm on the ground, looking at the back of the van, which is now pulled off the road and tilted to one side. This image is clear and sharp, more like a snapshot than a memory. There is dust around the van's taillights. The license plates and the back window are dirty. I register these thoughts with no thought of myself or my condition … I look down and see something that I don't like: my lap appears to be on sideways, as if my whole lower body had been wrenched half a turn to the right.' (1)
Details are always registered, whatever the conditions: even in more comfortable environments than the side of a road in Maine, with the bones in your left leg feeling like marbles in a sock. Summer in Stockholm and a group of people are sitting in a room. (2) There is a feeling that they might be about to be run over by just one of the characteristics of their work. Is the final irony the fact that a group of people who resorted to an expanded frame of references without remembering to keep their distance will find that they are brought back down through a limiting perception of that territory as the first and the last defining character of their work? Does this mean that architecture and design value is stronger than the perception of art value? Do any of the people in this exhibition really think about these things more than they think about power, environment, politics, ideology or pleasure?
Back to the room. The furniture is straightforward and designed in favour of the mutable function of the small semi-glazed room. High windows looking out over the water on one side, and full height glazing dividing the space from the rest of the building's interior. Maybe there was one big table but it might have been many small tables pushed together. Some of the people are known to each other while there are two or three who know some but not everyone. You can't smoke in this room, which is fine for a while, and for those who don't, but it means that the discussion that is going to take place here will be interrupted intermittently by the need to leave and take a break. But of course this is Stockholm in summer so any excuse to leave the room is rewarded by some sun or at least the vision of people appreciating the potential of a fine day.
There is a conceit to discuss – a need to address something that appears to be a base or an endpoint for the activities of some of the people here. Yet the centre of the focus is an aspect of the work that is normally passed by in favour of a search for what might be going on beyond, behind and before. The apparent concern for architecture and design is just a framework for a lot of other concerns, not least concerns about art and its histories. It is arguable however, and this is maybe the real starting point, that there has been a complete merger of a sense of architecture and design with everything: chains of American-derived food and drink outlets, the most banal banking experience and the collapse of generic clothing retailers in favour of specialisation and phantom-design. We are forced to accept architecture and design, or at least a display of an ironic awareness of the two in order to mitigate our distrust of certain structures at every moment that we are invited to consume, interface or register. So art on the verge of architecture and design might be extrapolated out towards artists as equally aware of the awareness of architecture and design within a post-industrial environment as everybody else.
Sub-titles will appear later, but for now there is just the requirement to sit and think about the implications of the interface between all three, and by association the connection between the three and the thousands of other micro-disciplines that shape our understanding of the built world. This is not a question of collaborative sensibilities across disciplines, but replacement strategies. There is no appropriation or picturing here, but a desire to occupy the same loaded spaces that would otherwise be left to the mediation of others; of consultants, focus groups and the architects of the refurbished corporate image. Yet there is a problem, and one that is hard to overcome. There is a feeling in this small room that there is no intentional focus upon such a meeting of activities at the heart of the work being made by these people. Some may have built a house, others may have lit one, yet all the points being made in every case have as much to do with a challenge to design and architecture as they have to do with an embrace for something just alongside art. The phrase 'scepticism and enthusiasm' comes up much later on, but it would be a good way to describe the mood in this room. Most of the people here are concerned with all the aspects of the built world; the decision-making processes that kick-start such constructions and an analysis of the debris and traces that are left behind. So maybe we should be addressing 'art against architecture and design', (3) maybe the exhibition should be rooted in negotiation of the three but never mention this fact in the title of the show. Ideologies need to be reassessed here; after all, most of the artists are involved in a negotiation of ideologies rather than a reassessment of the best way of making a place to hang out in. But hanging out might carry an accentuated significance in the context of a museum, so it is worth thinking about. An adult exhibition. That might be good. Not just a place for passing the time in, but a collection of negotiated objects and activities that reclaim an area that is claimed and claimed again then, and turned over and re-framed and re-claimed once more while constantly mutating and moving out of reach.
Maybe there is a real problem here, akin to mounting an exhibition called 'Art on the Verge of Paint and Canvas', maybe the implication of the potential connection is too closely rooted in an image of materiality rather than the potential of exchange and construction. The problem might be that there is a projection of a set of thinking that appears to take architecture and design as a subject for the art under consideration here. And that would be a mistake. So, people in a room by the water, why don't you go outside once more for another cigarette and think about whether it is useful to look at a series of artistic positions where there seems, at least on the surface, to be an intermingling of formal and functional references and see if there is a way to play with this, making it both the centre of the project and taking pleasure in the fact that it is merely the first and last thing to see. As before, it might be interesting to step to one side, create a thin shell over a destabilised core. The references might take care of themselves. The focus doesn't have to be on the subject at hand, that might just be a convenient institutional tool and a smokescreen to allow the people in the show to keep playing. Don't think about styling for the moment, and just consider the differences and the dysfunctional opposites of at least two factors at any given moment. Are there moments when the conceit collapses? Where is there literal collapse at the interface of art, architecture and design? What is unique about the place where these three aspects of our built world meet? Where is the crisis and how can you isolate each activity in order to find some common area by default? What about a new sub-title, 'Everyone on the verge of architecture and design'?
It is arguable that with the advance of mid-century modernism and the attendant Greenburgian focus upon the thing and the technique rather than what was brought to the art by the viewers intellect, ideology or beliefs, we experienced a continuing projection and creation of the artwork as a source of potential emanating from its very materiality. Such a process was not surprising, for with the secularisation of art in general there had developed an increasing displacement of the viewer's own ideas across to the viewer's necessity to absorb the ideas of the artist and the potential of the art itself. In other words, the viewer's knowledge of theology and sense of belief was brought to art when it was primarily in the service of religion, and the reduction of that gift of the viewer complicated the relationship between the user and the producer from the very moment that such a relationship broke down. Architecture and design working alongside art and feeding in and out of it, suffered a concurrent hollowing out as potential carriers of profundity. Buildings and design were actual, potentially functional and within the art discourse worked mainly as a default factor that could be utilised as a judgement tool against which to define what art might be. It was common to judge the success or failure of a painting in relation to its escape from decoration and design, and a sculpture in terms of its avoidance of theatricality and by disassociation from architectural tendencies. It is arguable that terms like 'modern' and 'postmodern' mean something subtly different to an artist and an architect, and nothing at all to some designers. So we are faced by a crisis of analysis as much as by a crisis of form, structure or intention. Architecture and interior design were starved of the application and search for meaning and profundity while art on the other hand suffered from an excess of potential and a perceived lack of significance. This doesn't mean that the analysis of either area was retarded, just that the understanding of terms and analysis are different and emerged, interacted and diverged at many non-synchronised moments. One thing is for sure, What if is not going to be amorphous. No blobs and only a few curves. It is grid based not body based. Locked and squared off rather than following the conceit that people are rounded so things should be rounded-off too. There could be a weakness here, but it is one that those in the room are aware of.
'Given the absolute rift that had opened between the sacred and the secular, the modern artist was obviously faced with the necessity to choose between one mode of expression and the other. The curious testimony offered by the grid is that at this juncture he tried for both. In the increasingly de-sacrilized space of the 19th century, art had become the refuge for religious emotion; it became, as it has remained, a secular sort of belief. Although this condition could be discussed openly in the late-19th century, it is something that is inadmissible in the 20th, so that by now we find it indescribably embarrassing to mention art and spirit in the same sentence … The peculiar power of the grid, its extraordinarily long life in the specialized space of modern art, arises from its potential to preside over this shame: to mask and to reveal it at one and the same time.' (4)
In our case, the grid, the line and the use of interior fittings, curtains, lighting and the arrangement of objects, is grid-related but not grid-shame related. For artists, along with most other inhabitants of Western industrial countries have even abandoned spirit, that last remaining legacy of religion, so it is no suprise that art and spirit are not mentioned in the same sentence, as spirit and anything else are barely mentioned in the same sentence outside the charlatanism of new-age escapism. At best What If is an acknowledgement of the potential of art as a vector for the rapid passing, circling and returning of the built world and its analysis within the context of an art making that attempts to occupy the small spaces between other more clearly defined set-ups. There is some sentimental attachment here, not to the more strident claims of the heroic architect or focused designer, but towards those who care for, occupy and adjust those spaces that were built in response to necessity and the desire to construct something better, but are now under the constant modification of everybody. There is little ironic acknowledgement of the perceived failures of modernism here, nor an overt reliance on a kind of corrupted psychological theorising that forces you towards a barely acceptable suppression of a responsive way of working in relation to the built world around us. We are faced with some applied art and some art applied to a place. All this will tell us as much about the other art histories in the museum as it will about the sub-title of the show.
So focus on the process of construction, bring things down to the level of need, ambition and reach. Rather than treating the built world as a picture, it could be more useful to decode the basis for its individual fabrications and its attendant tragedies. The implications of a major structure and the reasons for such a thing to exist in the first place might be well understood by some of the people in this room. They might be more interested in the decision making process than the image of the finished production itself. They certainly want to take part, not be involved in a separation willed onto an art that can only define itself by its difference. Stand back for a second and think of a specific example, not one that could come up in the room, but something that shouldn't be over-looked. Keep in mind the functionality, the hubris and the potential of architecture to be a disaster in a way that art rarely can.
There is a story about an attempt to cross an expanse of water, yet still allow river traffic to pass by unhindered by the structure. By 29th August 1907 the Quebec Bridge was cantilevering out across the St Lawrence River. There is an image of the South arm stretching out high above rocks while the river surface is rendered smooth and seemingly abandoned by the long exposure of the camera. A naked skeleton pitched out and arching away from a modest stone base set into the water. Cranes and scaffolds swung out even further from the cross-braced structure.
' … the whistle blew to end the day's work at 5.30 p.m. According to one report, 92 men were on the cantilever arm at that time, and when "a grinding sound" was heard, they turned to see what was happening. "The bridge is falling," came the cry, and the workmen rushed shoreward amid the sound of "snapping girders and cables booming like a crash of artillery." Only a few men reached safety; about 75 were crushed, trapped or drowned in the water, surrounded by twisted steel. The death toll might have also included those on the steamer Glenmont, had it not just cleared the bridge when the first steel fell. Boats were lowered at once from the Glenmont to look for survivors, but there were none to be found in the water … In the dark that evening, the groans of a few men trapped under the shoreward steel could be heard, but little could be done to help them until daylight.' (5)
What if The title might appear to allude to some other project, but in this case it is a malleable working title, it will do for now, and during the discussions it forms a useful function as it is not readily said, spoken or mentioned. It is an OK phrase, but one that feels odd when articulated. What if a working title. What if the telegram about the bridge had been delivered that day ordering work to cease immediately? What If: Art on the Verge of Architecture and Design, and engineering and the desire to cross an expanse of water and ideology and social structures and everything else. What if without a question mark, so not what if the bridge fell down, but something more neutral. Just what if.
The people in the room decide to stick with the title for now or at least they take the curator's silence as a signal that the title is staying, happy with something that they feel uncomfortable saying (the title, that is). The title and the sub-title are not specific to this exhibition. They allude to the thing that might be immediately apparent about some of the work on show, the title and the sub-title address something that is certainly there but it is not the reason why any of the work gets made.
A year after the Quebec bridge collapsed, and a new book was published: 'Nowadays everyone is more or less an artist,' observed the popular writer Emile Bayard in a guide to good taste published in France in 1908. In Bayard's view, and that of decorative arts reformers, fashion journalists, and advertisers of the era, the bourgeois home had become the epicenter of a new aesthetic democracy in early-20th century France.' (6)
So we have something to re-start with, a way to assess the way art began to reconstruct its self image in relation to its lost centre, its split from organised religion, patronage and craft. Yet such a dynamic shift could not survive the gendering of the relation between what became high art and domestic design. The industrialisation and co-option of all creative activity relegated one aspect of our built world to a precisely determined and defined shadow. The emergence of the bourgeois home as a site for possession and display was challenged by the rise of rationalist architecture and design. A home as a machine for living in during a time when extraordinary statements could still be made about the difference between the feminine domestic and the potential of the hard edged neo-industrial.
'One can see these same business men, bankers and merchants away from their businesses in their own homes, where everything seems to contradict their real existence –rooms too small, a conglomeration of useless and disparate objects, and a sickening spirit reigning over so many shams … and absurd bric-à-brac. Our industrial friends seem sheepish and shrivelled like tigers in a cage … We claim in the name of the steamship, of the airplane, and of the motor-car, the right to health, logic, daring, harmony, perfection.' (7)
And more from Wyndham Lewis in 1914: 'the modern city man in his office is probably a fine fellow - very alert, combative, and capable of straight, hard-thinking, but in his villa in the suburbs is reduced to an invalid bag of mediocre nerves, a silly child.' (8)
And it is beyond doubt that such a division and gendering of activity is thoroughly challenged by all the people in the room and everyone in the exhibition, not in a didactic way but in daily practice. The challenge to the division is not a question of high and low artistic activity but an embrace of the potential of the built world without the need to confine that world to binary judgement systems. Everything is negotiated here.
Leaving the room, there is nearly a year left to go and think about other things, while simultaneously working on exactly the kind of projects that What if assumes as part of its base and its potential. And some things are a little more clear now. An acknowledgement of trauma, collapse and destruction as something to be passed by. A suppression of the quotidian and the everyday without forgetting the challenge of its embrace within an art context. There is some play, in fact a great deal of play. Much scepticism and enthusiasm and some things that will just be collected together to make a point. And no-one is quite sure at this early stage how the whole thing will look. A year later the sense of the show is quite clear but the potential functionality of the place is a little more corrupted than you might imagine. There is little chance for interaction but plenty of potential for pause and reflection. Maybe a structure has been put together that combines a parallel reflection of the potential of art to keep us aware of the way that architecture and design are shifting in terms of how they offer signatures to the banalities of re-branding, renovating, consulting, re-launching and development. The split between the domestic and the professional has been squashed into a mass of references that have all been absorbed and re-tangled by the artists here. The moment of judgement has been mixed into the soup of those multiple judgements that are made by all people at all times about all things, rather than restricted to the worlds of art. What if doesn't make these things clearer, it merely opens up the gaps between art, architecture and design creating vast new spaces that require new negotiations at every step by all three disciplines.
(1) Stephen King, 'On Impact, After an Accident, The Author had to Learn to Write Again', The New Yorker, June 19 & 26, 2000.
(2) In the summer of 1999, Maria Lind invited a group of artists including Rirkrit Tiravanija, Jorge Pardo, Apolonija Sustersic, Jason Dodge, Miriam Bäckström, Liam Gillick and Tobias Rehberger to Stockholm to discuss the idea of an exhibition that would address the link between their work and architecture and design.
(3) An exhibition with this sub-title coincided with What if. It shared some of the same artists, notably Pae White who designed both accompanying publications. There is no formal connection between the two projects although the subtitle 'Art Against Architecture and Design' was also suggested by the author for What if.
(4) Rosalind E. Krauss, The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, Cambridge, Massachusetts 1985.
(5) Henry Petroski, Engineers of Dreams, Vintage Books, New York 1996.
(6) Lisa Tiersten, 'The Chic Interior and the Feminine Modern: Home Decorating as High Art in Turn-of-the-Century Paris', in Not At Home, The Suppression of Domesticity in Modern Art and Architecture, Thames and Hudson, London 1996.
(7) Le Corbusier, sourced from Not At Home.


This morning, we released an updated version of the Visual Studio Async CTP (SP1 Refresh) that's compatible with Visual Studio 2010 SP1 and Windows Phone 7!
What Is the Visual Studio Async CTP (SP1 Refresh)?
As the word "code-first" implies, the EF 4.1 offers a code centric data programming paradigm. From a coder's point of view, it requires little effort to map a very clean object model to a database.
As of this week, Visual Studio 2010 SP1 is now available for download! The service pack was released to MSDN subscribers on March 8 and became generally available on March 10.
Color Printing Extension Now Available!
We are pleased to announce the availability of Color Printing as a free extension for Visual Studio 2010! By default, VS 2010 prints only in black and white; this extension restores support for printing code in color.
We are pleased to announce the availability of Emacs Emulation as a free extension for Visual Studio 2010! This extension provides basic support for Emacs keybindings and text editing commands, very similar to the built-in Emacs keyboard layout in VS 2008.
If you're experiencing frequent "insufficient memory" errors when doing small cut or copy operations in Visual Studio 2010 RTM, please download this patch to see whether it resolves the issue.
What are the symptoms of this bug?
Two weeks ago, we launched the Productivity Power Tools at TechEd North America and the response has been great with over 37000 downloads so far! Many of you also may have noticed that an updated version of the Power Tools was released last week.


Some of you may be aware of our beautiful little girl, Umami, who has had health issues the whole 9 months we've had her.
She was previously on a 10 day course of doxycline to treat mycoplasma, and a cough which may or may not have been related. Unfortunately the cough persisted after treatment so they started her on prednisolone for asthma (lung xrays showed a small grey spot in one lung, but it was hard to tell if it was infection or asthma). The cough persisted, and even worsened on the steroid so we're currently weaning her off it as recommended by the vet, and now we're back to a full month course of doxycline, for a suspected secondary infection, which we'll start tomorrow.
My question, for those of you who have given this medicine, is how best to administer the pill form to a cat? Her last course was liquid and I just mixed with her food. I know the pill form is quite harsh and can damage their throat. Any tips? Crushing and mixing with food, or better to just give as is and follow with water/food/treats? Luckily, I'm an old hand with giving cat's meds, so no issue getting it in her, just wondering the best way to do it without hurting her!
Hey! Oh, thank you so much. She's such a sweetheart!
I sometimes use a pill gun. Usually though, Ellie eats her pills wrapped in pill pockets.
Hey! Thanks so much for your reply - that's good to know your boy took it well and eventually didn't need it washed down with water. That makes me feel relieved! We've been filled with horror stories of the doxy pill scarring the esophagus, so wasn't looking forward to a month of this pill twice daily.
Luckily Umami is a champ with pills, and doesn't require a pill popper. I was more concerned that something about this particular pill made it stick in the throat. Her first dose went well and I just followed it up with a treat to make sure everything moved down properly.
Seriously hoping this course holds positive results. It's hard not to lose hope when she's been near constantly on medication for her whole life with little to no relief of her symptoms. In fact she tends to feel worse on these intense medications. We're trying everything for her, and while she's not yet close to us having to make this decision and it breaks my heart to even think of it, at some point her welfare long term will need to be considered.
If you are concerned for it sticking, why not use some olive oil to help it wash down? I used to have to do that for mine.
Anytime I've given pills I dip the end of it in coconut oil and use my finger as a pill popper to slide it very far back on their tongue. Slides right down from there..
Big head smooch for Umami!
Doxy is a good drug for respiratory illnesses, but if she's been sick this long, don't risk lowering the absorption rate of the medication in the stomach.
Same goes for coconut oils. those are fatty and high in cholesterol. Will it kill the cat? no, but its not really all that good for them. nor is it as good as people think it is for humans either. the coconut oil info came from one of my professors - a residency trained pharmacist who practices in a major hospital helping to manage cholesterol and stroke risks. the other information was pulled from Lexi-drugs, a very reliable resource used by all pharmacists, veterinary or not.
If it were me (I've given doxy before, I've had to give ciprofloxacin before, as well as famciclovir for Mr. Shazam and his amazing amount of medical issues, lots of pills, so many pills -shudders-) I wouldn't dip it in oils. i'd just pill the cat and let them sort it out. The medical term for the side effect you are worried about is esophagitis. its rare, and according to the FDA's information on the drug, it happened rarely and most cases of it resulted from the patient taking the medication right before bed. So, pretty easy to prevent as long as after you give her the pill, she gets some water and it isn't right before she lays down. maybe hold her up for a minute or two afterwards, just to make sure. Also if she gets vomity or has diarrhea, those are really common side effects... just give her a meal that is lower in fat while taking the pill.
as for crushing the pill, it depends on the formulation of it. is it extended release? what is it coforumlated with? you can look on the bottle and see if there were any auxiliary labels that say not to crush it.
and honestly, its a question to ask your vet. They study this stuff and what they don't know, they have the resources and clinical data to find out. If anything I said here is confusing or I used medical terminology where I didn't mean to, let me know! I forget sometimes that other people haven't made the same poor life decisions as I have that landed me in the medical field.
Best of luck with your baby! I hope she gets better soon, such a beautiful girl.
That is some brilliant information! Thank you While I'm not in the medical field, I am a zoo keeper so have a lot of experience with medicating various animals. Just this particular form of pill had me worried. Glad to know thats a rare side effect! So far she's had 3 doses and she's taken them all beautifully. I hide it in a treat and she swallows it whole, then I follow it up with another treat and then get her to lick her lysine paste supplement off my hand. Let's see how long I can trick her with that for ;-) Her other pills are easily popped into the side of her mouth, but I'll err on the side of caution with this one.
It's not a slow release, as we cut the pill up into 1/4s so can potentially crush into food like we did with the liquid version, but that will be a last resort. Like you said, it's best she gets the full effect of the pill - her illnesses have been lingering for far too long. 13 months old and sick practically her whole life, thanks to her shocking breeder. We have hope for this longer course - all the other cats from that cattery had mycoplasma. The ones who unfortunately needed to be euthanized by their owners due to the severity of the illness were all younger than Umami. So she is older and stronger and has that going for her We're doing everything we can, and hope she gets some relief soon!
Thanks again, I massively appreciate it!
Oo, a zookeeper, that sounds super exciting! I must admit that i'm a tad bit jealous.
I'm going into veterinary pharmacy if all things go my way (Fingers crossed) but if that doesn't work i'll still have my pharmD in a year and can work with people. I just think the animal side is so underutilized and so small that i could make a world of difference there.
I'm so sorry to hear about all that with the breeder. I've had similar experiences and my boy Shazam was near death sick as a kitten as well. Didn't play until he was six months old, just sat in front of the space heater with his face in the air because he couldn't breathe very well. poor thing had to be on Cipro to knock out the stubborn respiratory infection. but he's got feline herpes courtesy of his breeder and will have issues off and on his whole life. He's five now and has to be on a special diet for his urinary issues and had to have surgery on his eye a few years ago. So I understand your frustration and your pain. Its horrible to watch them go through with this, but Umami is so lucky she landed with someone who is going to not only go the extra mile to get her well but to also love her through it.
i'm glad you figured out the pill trick! mine were to clever for their own good. I once had a girl that, whenever I tried to hide the capsule in her food, would pick it out, eat all the food off the plate and off the pill and leave me a clean plate with the pill in the center. I used to have to resort to kitty burrito and praying I didn't get my fingers bit. but Shazam is a good boy and doesn't bite no matter how many times I made him take the medicine that saved his life, just mumbled pitifully.
I really do hope the best for you guys. She's gorgeous and in the pic, her eyes are so expressive and full of life. I hope she gets better. She certainly has the best person to go to bat for her.
Thank you so much for your kind words! It really means a lot to me to hear those, as I've been struggling recently, feeling hopeless about her health issues and that I cant alleviate her suffering. She means the absolute world to us, and I just want her to have as healthy and happy a life as possible. She has her good days, but then she has bad ones and they aren't nice for anyone.
Sorry to hear you went through something similar with your boy! So glad to hear he is good now!! This gives me so much hope. Umami was very similar - didn't play until she was 6 or 7 months old, and didn't start meowing until she was 8 months old. We just thought she was a quiet kitten, not that she was in too much pain to meow. We welcome all the meows now, even the 3am ones!
I think you'd be an absolute asset to veterinary pharmacy! I will keep my fingers crossed that everything goes well for you What a fantastic thing to study and get into!
@ChelseaKaupp I've had to give doxycycline tablets as well, and was told not to crush them as they can still be abrasive. I used a pill popper at first, but found it was not working for us and just gave the pills far back in the mouth by hand. I would then check Butchie had swallowed it, and then give him a liquid treat straight after to be sure it couldn't possible get stuck in the esophagus!
That's a good idea too. Rinse it down.
She's very sleepy, but appetite is good and we still get her to play at night so this is as good as we can hope for for now!
I'm off to the hospital on Thursday to get induced as I'm 2 weeks overdue, so will have a little human sister for Umami to meet this weekend latest!
Keep us updated ! Head smooches !
Good luck with having the baby!
@ChelseaKaupp hello ! Checking in on you for updates ..Hope all went well at the hospital.
Hey there! Still at the birthing unit but should go home tomorrow - baby girl is quite small so she needa a few things to check out un order for us to go home, but she seems to be on track so far! Can't wait for her and Umami to meet.
Umami has been a bit upset at home, desperately wanting attention and for us to come back. Not long now!
@ChelseaKaupp Congratulations! Adorable ! Love her bonnet ! What is her name ?
Head smooches to Umami when you get her new sister home !


text:
Q: Nested loops unrolling using metaprogramming I have a number of nested loops with small sizes I, J, ... known at compile time, e.g.
for(int i = 0; i < I; ++i) {
    for(int j = 0; j < J; ++j) {
        // ...
        // do sth with (i,j,...)
    }
}

I need to unroll the loops using the sizes I, J, ... in such a way that I can use each coordinate combination at compile time.
To clarify, consider the following structure and take 2 nested loops with sizes I = 2, J = 3.
template<int... I>
struct C {
     static void f() {
          // do sth
     }
};

I can not use the indices i, j (similar to above) to index the structure C since they are not known at compile time. However what I would like to generate is exactly what would have been the case had I been allowed to use the indices, e.g.
C<0,0>::f();
C<0,1>::f();
C<0,2>::f();
C<1,0>::f();
C<1,1>::f();
C<1,2>::f();

I am not particularly concerned with the order of call generations as long as all combinations are produced. The generation mechanism should generalize to arbitrary number of nested loops.

A: You can do this by instantiating templates in a tree-like manner, keeping track of the nodes currently visited.
namespace detail{
    //This is used to store the visited nodes
    template<int...> struct int_pack;

    //Primary template
    template<typename, int... I>
    struct C;

    //This is the leaf node
    template<int... Is>
    struct C<int_pack<Is...>> {
        //The loop body goes here
        static void f() {
            std::cout << __PRETTY_FUNCTION__ << '\n';
        }
    };

    //This is the recursive case
    template <int I, int... Is, int... PIs>
    struct C<int_pack<PIs...>, I,Is...> {
        template <std::size_t... Idx>
        static void f_help (std::index_sequence<Idx...>) {
            //Store the current node in the pack
            //and call `C::f` for each loop iteration
            (void)std::initializer_list<int> {
                (C<int_pack<PIs...,Idx>,Is...>::f(), 0)...
            };
        }

        //Use tag dispatching to generate the loop iterations
        static void f() {
            f_help(std::make_index_sequence<I>{});
        }
    };
}

//Helper alias
template<int... Is>
using C = detail::C<detail::int_pack<>, Is...>;

Usage is pretty simple:
C<2,3>::f();

On Clang this prints:
static void detail::C<detail::int_pack<0, 0>>::f() [I = <>]
static void detail::C<detail::int_pack<0, 1>>::f() [I = <>]
static void detail::C<detail::int_pack<0, 2>>::f() [I = <>]
static void detail::C<detail::int_pack<1, 0>>::f() [I = <>]
static void detail::C<detail::int_pack<1, 1>>::f() [I = <>]
static void detail::C<detail::int_pack<1, 2>>::f() [I = <>]

Live Demo

You could make this more generic so that you can inject the loop body into the class through a lambda, but the above solution should do if you only want to do this once and don't want to pull in other dependencies like boost::hana. Here's a possible implementation of the more generic version (you could improve it with perfect forwarding and the like):
namespace detail{
    template<int...> struct int_pack;

    template<typename, int... I>
    struct C;

    template<int... Is>
    struct C<int_pack<Is...>> {
        template <typename Func>
        static void f(const Func& func) {
            func(Is...);
        }
    };

    template <int I, int... Is, int... PIs>
    struct C<int_pack<PIs...>, I,Is...> {
        template <std::size_t... Idx, typename Func>
        static void f_help (std::index_sequence<Idx...>, const Func& func) {
            (void)std::initializer_list<int>{ (C<int_pack<PIs...,Idx>,Is...>::f(func), 0)... };
        }

        template <typename Func>
        static void f(const Func& func) {
            f_help(std::make_index_sequence<I>{}, func);
        }
    };
}

You would use this like so:
C<2,3>::f([](int i, int j){
    std::cout << "i " << i << " j " << j << '\n';
});

Live Demo

Here's a quick version I mocked up with boost::hana. There are likely better ways to do this, but this should give you an idea of what can be done.
template <typename Func>
void unroll (const Func& func) {
    func();
}

template <std::size_t I1, std::size_t... Is, typename Func>
void unroll (const Func& func) {
    hana::for_each(hana::range_c<std::size_t, 0, I1>,
                   [&](auto x) {
                       unroll<Is...>([x, &func] (auto... xs) { func(x,xs...); });
                   });
}

redpajama_set_name: RedPajamaStackExchange


The Company paid finder's fees of 8% cash and 8% warrants to Canaccord Genuity Corp. on certain funds. The net proceeds will be used for upcoming Joint Venture exploration related expenditures at Cerro Cascaron in Mexico, marketing and administrative expenses.
Harvest has delivered a cheque for $700,000 to Evrim Resources Corp (TSX.V: EVM) to commission the Cerro Cascaron drill program of up to 3000 metres. The final details and costs of the drill budget will be completed before August 23rd and the drill program is expected to begin about the third week in September. Management at Harvest and Evrim have agreed to wait out the August rainy season to forego helicopter costs which would have effectively reduced the number of meters drilled.
The Company also announces that it intends, subject to the acceptance of the TSX Venture Exchange, to amend the exercise price of 25,824,000 outstanding warrants (the "Warrants") from $0.10 to $0.08 per share and extend the expiry date of 24,524,000 of the Warrants from September 9, 2018 to September 21, 2018. The expiry dates of the remaining Warrants, being October 7, 2018 as to 100,000 Warrants and October 18, 2018 as to 1,200,000 Warrants, will remain the same.
The Company has granted 1,800,000 options to certain directors and consultants of the Company. The options are exercisable at $0.075 per share and have a term of 5 years.
Insiders of Harvest Gold subscribed for 1,500,000 Units, with Richard J. Mark, President, CEO and a director of the Company, subscribing for 600,000 Units; and Joel Matheson, a director of the Company, subscribing for 900,000 Units in the third tranche of the financing announced August 2, 2018. As a result, the Private Placement is a related party transaction (as defined under Multilateral Instrument 61-101 Protection of Minority Security Holders in Special Transactions ("MI 61-101")). The Company relied upon the "Issuer Not Listed on Specified Markets" and "Fair Market Value Not More Than $2,500,000" exemptions from the formal valuation and minority shareholder approval requirements, respectively, under MI 61-101.
Harvest Gold is a mineral exploration company presently advancing its Cerro Cascaron high grade gold/silver project in Chihuahua State, Mexico, where an initial 3,000 m drill program is planned for 2018. Harvest Gold's Board of Directors and management team are experienced in successful exploration and have collective geological and financing experience exceeding 200 years.


text:
Home News Meghan Markle accused of 'barbed' dig at royals while hailing Invictus Games heroes – World News
Meghan Markle accused of 'barbed' dig at royals while hailing Invictus Games heroes – World News
The Duchess of Sussex spoke at the opening ceremony of the Invictus Games, thanking those present for their "service" in what one expert suggested could be a "barbed" remark
Meghan Markle introduces husband Prince Harry to stage
Meghan Markle may have hidden a subtle dig at the Royal Family in her speech praising the heroes of the Invictus Games, some critics are convinced.
During the opening ceremony at the Hague the Duchess of Sussex took to the stage to rapturous applause.
She began her remarks by thanking those present, her husband Prince Harry and in particular the team from Ukraine.
Meghan then issued what some have claimed is a veiled swipe at the Firm by telling Invictus competitors: "This is service."
Meghan told the ex-military heroes at the games set up by Harry: "Thank you so much for your service and thank you to all the family and friends that are here who have been supporting you along the way.
Meghan hit the stage to rapturous applause
PA)
"Because this is service, this is dedication and this is the Invictus family."
While some may read the remarks as clear and unequivocal praise for veterans who have risked their lives in the arena of war, others have another interpretation.
Ingrid Steward, royal commentator and editor-in-chief of Majesty magazine, called it "an interesting choice of words".
She told The Sun: "It's evocative language and perhaps is slightly barbed. There's definitely a little innuendo there."
When Meghan and Harry stepped back from royal life, the Queen said the pair would not "continue with the responsibilities and duties that come with a life of public service".
In a short response, Harry and Meghan said at the time: "We can all live a life of service. Service is universal."
Some people, primarily on Twitter, took Meghan's comments yesterday as a carefully calculated nod to her previous statement.
Prince Andrew 'unlikely' to move out of Queen Mother's £30m mansion despite money woes
Woman, 23, left with horror injuries after being chased and run over three times by SUV
Others suggested she was simply singing the praises of those who had been injured serving their countries.
"Harry and Meghan are the gold standard when they give back to global communities," one person wrote online.
"They gave back to the service men & women a place they can thrive in through sport & meeting new friends along the way from over 20 teams globally."
Another simply asked: "So they can't use the word service?"
The couple kissed on stage
Prince Harry spoke about his son on stage
Earlier Harry and Meghan had been cheered as they made their way into the arena and waved at fans as they took their seats in the front row.
Harry looked smart in a gray suit with an open collar shirt while Meghan paired dark trousers with a £620 white off the shoulder body suit by Khaite and a £12,800 Cartier necklace.
When Harry arrived on the stage he kissed his wife and talked about how it was great to be back, telling the crowd how he had missed them.
He then spoke sweetly about young son Archie, who is almost three, and revealed how they chat about what the toddler wants to be when he grows up – and it includes a daredevil cartoon cat who dresses like a pirate.
The Duke and Duchess of Sussex opened the games
Harry said: "To be role models, or the role models, that each of you are takes strength and it takes courage.
"When I talk to my son Archie about what he wants to be when he grows up, some days it's an astronaut, other days it's a pilot – a helicopter pilot obviously. Or Kwazii from Octonauts. If you're laughing then you've seen that.
"But what I remind him is that no matter what you want to be when you grow up, it's your character that matters most, and nothing would make his mum and me prouder than to see him have the character of what we see before us today ."
Harry said those involved with Invictus have "overcome immense challenges", adding: "And together you are healing and teaching the world as you go."
William and Kate at Easter service without Queen – after missing Harry reunion
Ukraine's richest man vows to 'rebuild' nation after Zelensky accused him of Russia coup
www.mirror.co.uk


Wargames, Soldiers & Strategy Issue 71 with Conquest of the New World.
Gary Mitchell, 'Asymmetric warfare in practice - the conquest of the New World'.
Peter Brown, 'Shaking the foundations of heaven - the Battle of Xochimilco, 1571'.
Allen E. Curtis, 'Resistance to colonization in New England - the skulking practice of war'.
Mark Backhouse, 'The expedition of Hernando de Soto - in search of El Dorado'.
Ruben Torregrosa, 'How to paint 15mm warriors - Tlaxcala, the Aztecs' enemy'.
Timmy De Cabooter, 'Scratchbuilding your own village at minimal cost - a thatched Aztec house'.
Guy Bowers, 'Building an Aztec or Conquistador army - the Halss of Montezuma'.
Andrew Taylor, 'The Night of Sorrows - La Noche Triste'.
Guy Bowers, 'An interview with Andrea Sfiligoi - The guru behind Ganesha Games'.
Paul Brook, 'Bitesize battles - pillage the village'.
Eoghan Kelly, 'Tiergarten, Berlin, 28 April 1945 - Mohnke business at Berlin Zoo'.
Richard Lloyd, 'At large with the Whitechapel Gun Club - weird Victorian for dummies'.
Dr. Phil Hendry, 'The psychology of painting large forces - painting big armies'.
Björn Arvid Kappe, 'Seeing the forest for the trees - making your own deciduous trees'.
Paul Cubbin, 'Part I: Flags - Flags and shields'.
Sam Mustafa, 'It's just a game - Do we need miniatures to play miniature wargames?
Game Reviews of of Kugelhagel, and Ronin.
Great issue, what I've come to expect!
This issue didn't disappoint, just like every other one! I'm not too familiar with this month's theme, but I found everything to be very informative, and well researched/put together. Has me considering Spanish Conquistadors.... I usually flip to the model range section first, just to see all the shiny toys by scale, then backtrack to the rest of the articles.
As always WSS delivers a very good product. Even though I don't game the period that makes this month's highlight, as I read through the magazine I considered it thanks to the scenarios, reviews, etc. Good job!
As I said in another review, the articles from the regular contributors are always a joy to read.
Another very impressive issue with a great choice of topics, reviews and hints.
Especially Gary Mitchell's article on the conquest of the new world is very informative and so well written that I might use some quotes in my history lessons. And having an author take a one sentence look at the ACW from a Marxist perspective and quote Star Trek in the next paragraph is immensely enjoyable.
But my secret favourite in WSS have always been the columns which I usually read first as I am fascinated by the insights of these long-time gamers and designers, as I'm very interested in the design process as well. And in this issue, the columns are once again very well done.
While I was reading the issue I found myself alternatingly laughing out loud and then again looking breathlessly at beautiful pictures of wonderfully painted miniatures.


Dr. Gregory House: [after questioning House's treatment plan for a patient] Why are you so afraid of making a mistake?
Dr. Lisa Cuddy: Because I'm a doctor. Because when we make mistakes people die.
Terrible with patients, Dr. House (Hugh Laurie) is excellent in determining what is wrong with them and then curing them.
He gets right to the heart of the matter, whether it is someone that is dying, or someone who is a hypochondriac, or a mother that thinks she knows more than her doctor does.
He doesn't mince words, and believes all people lie.
This episode introduces the characters we will grow to love and introduces the best medical show on television.
Directed by Brian Singer, who gave us X-Men and X2, this is one exciting show.


text:
← What Might You Do? Celebrity Edition
Valentinstag Taktik: Der Entscheider Night Out →
Veggly™ Works Vegans and Vegetarians Get A Hold Of Like-Minded Dates and Friends
Publicada el 28/11/2022 por admin
The information: Many vegans and vegetarians wanting times understand how tough it may be to obtain somebody with similar diet needs. Prospective partners on numerous internet dating sites never usually share similar values or lifestyles, that make it challenging to develop powerful interactions. This is why Veggly assists vegans and non-meat eaters discover appropriate folks from all over the world. With almost 200,000 successful Veg-Matches since its release in 2018, Veggly is a well known location for non beef eaters to relationship.
According to research published in Vegetarian days, the U.S. is home to about 7.3 million non-meat eaters — understood to be people that dont eat animal meat, and quite often some other animal services and products, particularly for ethical, religious, or health explanations. Of those, about 1 million people are vegans, meaning they do not eat or use animal items, such as eggs, milk, and honey.
Non-meat eaters may decide on their own lifestyles for all factors, including personal wellness or green problems. But, usually, their particular principles sleep in a love of creatures and a belief that all everyday lives are priceless. Ask a vegan about the remedy for creatures in large manufacturer farms, and you will probably get an in-depth knowledge.
These enthusiastic beliefs will make dating challenging because so many non-meat eaters and vegans are not normally interested in online dating somebody who does not understand their unique beliefs or way of living. This is exactly why a lot of people turn to Veggly, a dating website that connects vegans and non-meat eaters together with other individuals who think and eat like they do.
Lots of people search for some body they're able to connect with on a deeper level, not only when it comes to choosing a cafe or restaurant for lunch. But starting with a knowledge and regard of each other's prices can go a long way to making sure an effective match.
That may be particularly true for vegans, who are specific concerning kind of men and women they date. A lot of them depend on Veggly, which is the reason why it has become a top destination for vegan daters.
«We're the top dating software for vegans,» mentioned Alex Felipelli, creator of Veggly. «When someone would like to join a vegan dating application or site, they generally reach united states. We're happy with this because we need to assist vegans and non-meat eaters discover buddies and dates.»
Your website's Vegan Founder Struggled to get appropriate Dates
Three in years past, Alex, some type of computer professional, had been recently divorced and discovered themselves right back throughout the matchmaking scene. As a vegan, he found exactly how difficult it absolutely was to obtain someone he had been thinking about whom provided his viewpoints and habits.
«it absolutely was really hard for me personally currently individuals who just weren't vegans and didn't share equivalent values,» the guy said. «I had been thinking about generating some thing for some time, to innovate. We chatted to a few friends have been also vegans and non-meat eaters, in addition they appreciated the concept.»
He decided to stop his work and start building an internet dating app designed for vegans and non-meat eaters to obtain like-minded singles in order to connect with — either romantically or as friends.
He labored on the application for half a year before he established it in October 2018. By the heart of 2019, membership had cultivated to about 20,000 men and women. Nowadays, Veggly boasts near 120,000 members.
Over the last two years, the application made nearly 200,000 «Veg-Matches.»
«We have several stories of people who become close friends through Veggly,» Alex mentioned.
The app can be acquired for down load on both iOS and Android, as well as the platform normally obtainable in an internet adaptation. It's free to sign-up, generate a profile, look for interesting individuals, and link over talk.
Its coordinating formula is actually transparent: Instead of creating a computerized program that decides who you should see when searching for really love or relationship, Veggly produces options based on place. The platform stresses individual proximity and passions locate fits suitable their own requirements.
The next step may simply be agreeing throughout the vegetarian-friendly restaurant to own very first conference.
Linking folks of All Orientations and Gender Identities
While Veggly users may all be vegan, veggie, or «in transition» to animal-free food diets and lifestyles, these include nonetheless a diverse party.
Veggly's biggest individual base is found in the usa, followed closely by the uk, Germany, and Australian Continent. The working platform features a little even more ladies (53percent) than males (47percent). That distinguishes it from a lot of dating applications, in which the greater part of the customers are males.
Veggly can available to folks of all genders and intimate orientations. Most users (78per cent) identify as heterosexual, while 13.7% determine as bisexual, and 8.1percent identify as gay or interacial lesbian.
Recently, the software additionally launched an adaptation that features broader terminology permitting users to establish their own sex identity and sex phrase. That makes it an enticing place for anyone who cares profoundly about animals and it is ready to accept fulfilling like-minded individuals.
«we an objective to help individuals find someone that shares alike principles, and this can make interactions a lot easier,» Alex stated. «It's not really the only feature for a person, nonetheless it assists many, to start with.»
After they've signed up with either Facebook information or their proven current email address, users can create a profile and upload as much as nine images and commence browsing some other profiles. An individual they like responds, they are able to begin talking straight away at no cost.
People may purchase a premium membership or tokens that unlock other options, including «super likes» and also the ability to see who wants their own profile before they get a «Veg-Match.»
Veggly™ models Finding Friends and couples Easier
Users say Veggly is a much friendlier platform than many other internet dating sites and applications. And its developers will work to launch an innovative new solution to help customers find platonic friendships through software.
«We have now seen a lot of people use Veggly for finding pals. It isn't really constantly for dates,» Alex said. «We desired to ensure that is stays a bit more comparable to a social system. It is possible to still hide or delete or block somebody who you dont want to see.»
As with a social media, consumers may see who's internet based or close by, to allow them to generate plans with someone as buddies. When individuals initial decide to get vegan or veggie, they could maybe not understand many people just who show their prices. But they may use Veggly to locate pals acquire help within trips.
Alex said the site is trying to generate a video clip chat capacity within the app available a means of interacting with this era of social distancing. Like that, men and women can date actually while in the COVID-19 pandemic and get to understand some one before meeting right up face-to-face.
«Our company is taking care of generating video phone calls and building that to the app. It is going to enable consumers to see each other virtually and move on to know all of them much better before they arrange a gathering,» the guy stated. «therefore we want to make it almost perfect as a dating software, immediately after which, someday, come to be a vegan social network where everybody all fits in place to chat.»
Meanwhile, the group is targeted on growing the app and gathering popularity, so much more vegans and non-meat eaters will get love.


text:
Q: How do I add a new button to the infowindow on the marker? This JS code
function initMap() {
  var uluru = {lat: -25.363, lng: 131.044};
  var map = new google.maps.Map(document.getElementById('map'), {
    zoom: 4,
    center: uluru
  });

  var contentString = '
'+
      '
'+
      '
'+
      '
Uluru
'+
      '
'+
      '
Uluru, also referred to as Ayers Rock, is a large ' +
      'sandstone rock formation in the southern part of the '+
      'Northern Territory, central Australia. It lies 335 km (208 mi) '

'+
      '
Attribution: Uluru, '+
      'https://en.wikipedia.org/w/index.php?title=Uluru '+
      '(last visited June 22, 2009).
'+
      '
'+
      '
';

  var infowindow = new google.maps.InfoWindow({
    content: contentString
  });

  var marker = new google.maps.Marker({
    position: uluru,
    map: map,
    title: 'Uluru (Ayers Rock)'
  });
  marker.addListener('click', function() {
    infowindow.open(map, marker);
  });
}

I want to add a new button to the infowindow called 'uluru'. The button should be right next to the closing key like the photo.Can you help me??

A: You can create a button by setting content with contentString and position it to the place you want like the following demo.

function initMap() {
  var uluru = {
    lat: -25.363,
    lng: 131.044
  };
  var map = new google.maps.Map(document.getElementById('map'), {
    zoom: 4,
    center: uluru
  });

  var contentString = '
' + '<button type="button" class="custom_button">!!!</button>' +
    '

' +
    '
Uluru
' +
    '
' +
    '
Uluru, also referred to as Ayers Rock, is a large ' +
    'sandstone rock formation in the southern part of the ' +
    'Northern Territory, central Australia. It lies 335 km (208 mi)
' +
    `<p>Attribution: Uluru, <a href="https://en.wikipedia.org/w/index.php?title=Uluru&oldid=297882194">` +
    'https://en.wikipedia.org/w/index.php?title=Uluru ' +
    '(last visited June 22, 2009).
' +
    '
' +
    '
';

  var infowindow = new google.maps.InfoWindow({
    content: contentString
  });

  var marker = new google.maps.Marker({
    position: uluru,
    map: map,
    title: 'Uluru (Ayers Rock)'
  });
  marker.addListener('click', function() {
    infowindow.open(map, marker);
  });
}

initMap()
#map {
  height: 90vh;
}

.custom_button {
  position: absolute;
  top: 0px;
  right: 20px;
}


text:
__author__ = 'swistak'
# Reference implementations, unused code.

redpajama_set_name: RedPajamaGithub


Roll over the stars for an explanation.
The Intellinote Bill Counter is easy enough for anyone to use. Even if you aren't the most gadget oriented individual you can quickly learn the functions of this compact unit.
To begin plug the counter in and flip on the red power switch located at the back of the unit. Once power is established the machine automatically self-diagnoses. If there is an error within the system, it will sound an alarm. In the unlikely event this occurs we have an easy to follow trouble shooting guide.
If you'd like to BATCH count start by pressing "preset" key to switch on the batch counting mode. The batch number will increase by an increment of 5 pieces, when you reach the number you are seeking enter the bills into the hopper to begin the feed.
Select RESET to clear the menu. With the counting speed of an amazing 900 bills per minute ¨C you'll never go back to counting by hand again!


When it was clear that we didn't want five-point essays, the students instantly composed poems about female genital mutilation, politics, love, and—over and over again—the importance of education.
Quartet Press, the new digital publisher founded by Kassia Krozser, Kat Meyer, and Kirk Bilione, is now accepting submissions.
The first issue of kill author is out, named for Roland Barthes, with work by Barry Graham, Cristin O'Keefe Aptowicz, Ethel Rohan, J.A. Tyler, Mel Bosworth, and Nicole Elizabeth.
Dzanc Books offers a collection of Short Story Month Essays — over 160! — for a donation of $10 or more.
if:book announces the first Fictional Stimulus, "an introduction to the future of reading in the 21st Century and beyond." You can sign up at the Bookfutures blog.
Terese Svoboda's story "Read the Snow" appeared in The Brooklyn Rail.
Darryl Price, Randall Brown, Mel Bosworth, Alan Rossi, Cynthia Reeser, and J.A. Tyler have stories, poetry, and reviews in Prick of the Spindle Vol. 3.2.
Erin Fitzgerald and Meg Pokrass are in the July issue of decomp.
The Rome Review #1 features a story by Blake Butler.
Ethel Rohan also has stories in Everyday Genius, Houston Literary Review, Keyhole Magazine, Oddville Press, and Writers' Bloc.
Cliff Garstang's story "Counterpoint" and Robert Detman's "The Edmonton Farrell" appeared in Wisconsin Review.
J.A. Tyler, Matt Bell, Josh Maday, and Nicole Elizabeth contributed to the July issue of Chapbook Review.
Willow Springs 64 contains fiction by Kim Chinquee and lists by Blake Butler.
Matthew Simmons, Blake Butler, and Sam Pink have stories in Bust Down the Doors and Eat All the Chickens, a journal of absurd and surreal fiction.
At ArtVoice, flash fiction by Scott Garson and Nicole Elizabeth.
Smokelong Quarterly 25 includes work by Tara Laskowski, Amanda Nazario, and Darlin' Neal.
Issue #2 of Pear Noir! includes stories by Barry Graham, Charles Lennox, Brandon Scott Gorrell, J.A. Tyler, Lauren Becker, and Ravi Mangla.
Chris Killen's "Paul Simon Gives Chevy Chase the Finger" appears in Loops.
The L Magazine interviews Blake Butler, and Brandon Scott Gorrell talks to BOMBlog. The Iowa Source has an interview with Laurel Snyder.
Josh Maday is editing an anthology of fiction about post-industrial work life and invites you to contribute.
Jessica West (What Would Keith Richards Do?) does a playlist for Largehearted Boy.
First, I'm compelled to remind all the spurned and frustrated writers of the world that the work itself is the real blessing and reward, and that any writer worth his salt would do well to remind himself of this fact daily.
We appreciate an email if you have news.


text:
/*
 * $Revision: 2523 $
 *
 * last checkin:
 *   $Author: gutwenger $
 *   $Date: 2012-07-02 20:59:27 +0200 (Mon, 02 Jul 2012) $
 ***************************************************************/

/** \file
 * \brief Mathematical Helpers
 *
 * \author Markus Chimani
 *
 * \par License:
 * This file is part of the Open Graph Drawing Framework (OGDF).
 *
 * \par
 * Copyright (C)<br>
 * See README.txt in the root directory of the OGDF installation for details.
 *
 * \par
 * This program is free software; you can redistribute it and/or
 * modify it under the terms of the GNU General Public License
 * Version 2 or 3 as published by the Free Software Foundation;
 * see the file LICENSE.txt included in the packaging of this file
 * for details.
 *
 * \par
 * This program is distributed in the hope that it will be useful,
 * but WITHOUT ANY WARRANTY; without even the implied warranty of
 * MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the
 * GNU General Public License for more details.
 *
 * \par
 * You should have received a copy of the GNU General Public
 * License along with this program; if not, write to the Free
 * Software Foundation, Inc., 51 Franklin Street, Fifth Floor,
 * Boston, MA 02110-1301, USA.
 *
 * \see  http://www.gnu.org/copyleft/gpl.html
 ***************************************************************/

#ifndef OGDF_MATH_H
#define OGDF_MATH_H

#include <ogdf/basic/basic.h>
#include <math.h>

namespace ogdf {

//#define DOUBLE_EPS 0.000001

class OGDF_EXPORT Math {

public:
	//! The constant \f$\pi\f$.
	static const double pi;

	//! The constant \f$\frac{\pi}{2}\f$.
	static const double pi_2;

	//! The constant \f$\frac{\pi}{4}\f$.
	static const double pi_4;

	//! The constant \f$2\pi\f$.
	static const double two_pi;

	//! Euler's number.
	static const double e;

	//! The constant log(2.0).
	static const double log_of_2;

	//! The constant log(4.0).
	static const double log_of_4;

	//! Returns the logarithm of \a x to the base 2.
	static double log2(double x) {
		OGDF_ASSERT(x >= 0)
		return log(x) / log_of_2;
	}

	//! Returns the logarithm of \a x to the base 4.
	static double log4(double x) {
		OGDF_ASSERT(x >= 0)
		return log(x) / log_of_4;
	}

	//! Returns \f$n \choose k\f$.
	static int binomial(int n, int k);

	//! Returns \f$n \choose k\f$.
	static double binomial_d(int n, int k);

	//! Returns \a n!.
	static int factorial(int n);

	//! Returns \a n!.
	static double factorial_d(int n);

	//static bool equald(double a, double b) {
	//	double d = a-b;
	//	return d < DOUBLE_EPS && d > -DOUBLE_EPS;
	//}

	/*!
	 * \brief A fast method to obtain the rounded down binary logarithm of an 32-bit integer
	 *
	 * This is based on http://en.wikipedia.org/wiki/Binary_logarithm
	 * @param v The number of which the binary logarithm is to be determined
	 * @return The rounded down logarithm base 2 if v is positive, -1 otherwise
	 */
	static int floorLog2(int v) {
		if (v <= 0) {
			return -1;
		} else {
			int result = 0;
			if (v >= (1 << 16)) {
				v >>= 16;
				result += 16;
			}
			if (v >= (1 << 8)) {
				v >>= 8;
				result += 8;
			}
			if (v >= (1 << 4)) {
				v >>= 4;
				result += 4;
			}
			if (v >= (1 << 2)) {
				v >>= 2;
				result += 2;
			}
			if (v >= (1 << 1)) {
				result += 1;
			}
			return result;
		}
	}
};

}

#endif // OGDF_MATH_H


text:
Q: ng2-Chart not working with newly created angular 10 project when trying to add ng2-charts to a newly created angular project it gives this error
it seems to be an issue while compiling
I tried and searched for multiple ways but with no luck
error
here's my package.json
  "private": true,
  "dependencies": {
    "@angular/animations": "~10.1.0-next.7",
    "@angular/common": "~10.1.0-next.7",
    "@angular/compiler": "~10.1.0-next.7",
    "@angular/core": "~10.1.0-next.7",
    "@angular/forms": "~10.1.0-next.7",
    "@angular/platform-browser": "~10.1.0-next.7",
    "@angular/platform-browser-dynamic": "~10.1.0-next.7",
    "@angular/router": "~10.1.0-next.7",
    "chart.js": "^2.9.3",
    "ng2-charts": "^2.4.1",
    "rxjs": "~6.6.0",
    "tslib": "^2.0.0",
    "zone.js": "~0.10.2"
  },
    "devDependencies": {
    "@angular-devkit/build-angular": "~0.1001.0-next.6",
    "@angular/cli": "~10.1.0-next.6",
    "@angular/compiler-cli": "~10.1.0-next.7",
    "@types/node": "^12.11.1",
    "@types/jasmine": "~3.5.0",
    "@types/jasminewd2": "~2.0.3",
    "codelyzer": "^6.0.0",
    "jasmine-core": "~3.6.0",
    "jasmine-spec-reporter": "~5.0.0",
    "karma": "~5.0.0",
    "karma-chrome-launcher": "~3.1.0",
    "karma-coverage-istanbul-reporter": "~3.0.2",
    "karma-jasmine": "~4.0.0",
    "karma-jasmine-html-reporter": "^1.5.0",
    "protractor": "~7.0.0",
    "ts-node": "~8.3.0",
    "tslint": "~6.1.0",
    "typescript": "~3.9.5"
  }

and here's app.module
import { BrowserModule } from '@angular/platform-browser';
import { NgModule } from '@angular/core';

import { AppRoutingModule } from './app-routing.module';
import { AppComponent } from './app.component';
import { ChartsModule } from 'ng2-charts/lib/charts.module';

@NgModule({
  declarations: [
    AppComponent,
  ],
  imports: [
    BrowserModule,
    AppRoutingModule,
    ChartsModule,
  ],
  providers: [],
  bootstrap: [AppComponent]
})
export class AppModule { }

A: Try to change the import of ChartsModule as follows:
import { ChartsModule } from 'ng2-charts';

Please take a look at this StackBlitz to see a working example that uses Angular 10.


text:
English FA 'cultural review' after team racism controversy
Originally published October 26, 2017 at 8:19 am
LONDON (AP) — Still reeling after the botched handling of racism investigations, the English Football Association sought to defuse an escalating controversy Thursday by launching a "full cultural review" to improve inclusivity.
After dismissing the merits of their complaints for months, the FA apologized last week to England women's team players Eni Aluko and Drew Spence, who were found to be the target of racially offensive jokes by since-fired coach Mark Sampson.
But the governing body's contrition was undermined by FA chairman Greg Clarke's stance at a parliamentary committee hearing into the scandal last week when he dismissed some concerns about racism within the FA as "fluff." While Clarke on Thursday told members of the FA Council — the parliament of English soccer — that it was a "terrible word to use," the outcry continues.
Clarke accepted there is a need "to win back the trust of our country."
"We have lost the trust of the public," Clarke said in a speech provided by the FA from a meeting closed to the media.
English soccer's anti-discrimination group, Kick It Out, denounced the "shambolic exposure" of the FA's "leadership, competence and discriminatory treatment of black and minority people." Kick It Out chairman Herman Ouseley said the FA was only proposing action to address concerns about the lack of equality and inclusivity in English soccer because of "the latest crisis of confidence."
To address the problems, Clarke wants to ensure the executive and coaching staff are less of a white-dominated hierarchy. The chairman also pledged to put in place better whistle-blowing and grievance procedures around the England teams after the inadequacies were exposed by women's team players. There will also be an assessment of operations at the St George's Park base for teams in central England.
"We must not compromise on culture and environment there," Clarke said. "That is why we will conduct a full cultural review, top to bottom, of all SGP operations with a focus on improving its inclusivity and our collective care for players. Performance and a positive culture must not be an 'either or' choice."
Rob Harris is at www.twitter.com/RobHarris and www.facebook.com/RobHarrisReports


Here the close up for the full-face makeup look.
I'm trying to create an alluring eye look with true red lipstick.
Here the short tutorial I made on Instagram.
I hope you find this helpful for you. Maybe you can try this makeup look when every you feel like wearing a true red lipstick. If you have any suggestion on what makeup look should I do next do let me know or comment down below.


I'm about done with my project and ready to deploy in HTML5. But I'm running into some kind of bug.
If I do not include my own custom preloader (from a frame in my project), everything works correctly. But once I enable a frame to be a preloader, any time my project tries jumping from one frame to another, it freezes/crashes the project. There's no error message, I just remain on a frozen version of the frame before the frame-jump.
Normal functionality is restored just by disabling the preloader.
Anyone run into this before? Or know how to fix?
Specifically this happens when I deselect the option "Quit preloader when all data loaded" and handle the "End Application" events myself. When I allow Fusion to auto-quit the preloader things work normally.
The reason I do this is so that I can detect if the OS is iOS on the preloader screen and display a "Touch To Continue" before starting the first frame. This way the sounds run and the first touch isn't lost by Safari.


text:
Home » Miscellaneous, People & Places, Politics » Another PAC Meeting Canceled
Another PAC Meeting Canceled
During the Budget debate in March, member of the Public Accounts Committee Patrick Faber made note that the last three meetings of the Committee to that point had been canceled. It prompted a response from chairman and Cayo South area representative Julius Espat. Now comes news that a meeting scheduled for Thursday, April nineteenth, including the participation of Auditor General Dorothy Bradley, was scuttled for lack of quorum when none of the Government side showed up. Member Tracey Taegar-Panton sent her regrets and the Deputy Prime Minister, as we reported earlier this week, was on his way out to South Korea. But there has been no indication of why the other government members, John Saldivar and Frank "Pawpa" Mena, were absent. Today Espat told News Five that the government is going to have to do better and we must all hold them accountable.
On the Phone: Julius Espat, Chairman, Public Accounts Committee
"It's a concern, because it's not that we called the meeting without anybody being aware. We've had cancellations in the past – like the one before was canceled because it coincided with the Budget presentation. And therefore both sides had to prepare, and therefore we all agreed we wouldn't have the meeting. But this one was agreed to. And it's a concern for us, because this is a very important committee. The work of this committee is extremely important for good governance in this country. And I understand that it hasn't functioned in the past, we have been trying for so long. But we all have to be responsible to be able to ensure that the only committee that is designed for check and balance functions. And so I'm pleading to the country, I'm pleading to anyone that wants to listen, to give us some support, so that we can ensure that all members participate. If the government members who are there don't want to participate, or can't participate, then let them appoint somebody; it is in the Standing Orders that they can appoint somebody to replace them. I've been doing this from 2012 and I've gone through all different avenues to make this committee work; but we are still where we are right now."
Espat says he has written the clerk of the National Assembly asking to set a date for another meeting.
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