February 29, 2016: And now for something completely different.
OK, not completely different – we are going to talk about more Mayan ruins. But even those look pretty different from anything we've shown you to date. And the surrounding scenery is outstanding.
Chiapas is the southernmost and poorest state in Mexico. It was in the news recently, as Pope Francis made a stop in San Cristobal de las Casas (more about that later) during his visit to Mexico. He pointed out the poverty and poor treatment of the indigenous people of Chiapas to the world. But Chiapas is also an incredibly beautiful place, full of jungles, Mayan ruins, mountains, waterfalls and historic cities.
We entered Palenque National Forest and set up camp at Hotel Mayabell. Mayabell has been around for 40 years, starting out as a site for tent campers. It's now a pretty cool hotel with a nice restaurant, bar and pool. Also, howler monkeys. We heard many in the surrounding jungle, and one day a group, including some babies/juveniles, came right to the edge of the campground. We're fairly certain that there weren't howlers in this area when we were here before, because . . . well, if you've ever heard them in the wild, you wouldn't forget it.
Mayabell has full hook-up sites for RVs at a very reasonable rate, and a large area for tent campers. They also have a nice little restaurant with a cool bar and live music regularly. We would definitely stay here again. Here we are among our much larger RV brethren.
We are the short vehicle on the right side, obscured by the tree. Sorry, bad composition.
Almost all of the other RVs that you see towering over ours belong to a group of 6 RVs traveling together for 90 days in a caravan. They are a mixed group of Canadians and Kansans. They had been to many of the same places on the Yucatan that we told you about in prior posts, and some we will need to check out in the future. The coordinators of this group were Dan and Lisa Goy, who run Baja Amigos, a company that specializes in leading RV caravans down the Baja California peninsula all the way on the other end of the country from the Yucatan. We have job envy. But on this excursion, Dan and Lisa are traveling as vacationers rather than wagonmaster/tour guides, and they're traveling with friends they met on prior Baja trips. They were a really nice group of people, and it seems they're having quite a good adventure themselves.
We wanted to recreate the original photo, but when we got to the site, we found out that the Temple of the Inscriptions, where we were standing in 1995, is no longer open for climbing, so we had to improvise.
The Temple of the Inscriptions holds the tomb of Lord Pakal, who took the throne in 615 AD and ruled Palenque for 68 years, building the city into a serious regional power. While much of Mayan history is lost, or pieced together from remnants, the inscriptions that give this temple its name contain a wealth of information about Pakal and his rein. That is, now that archeologists have discovered how to read Mayan glyphs.
Inscriptions on wall to left. Round holes in floor panels where presumably ropes were used to put the floor in place, then the holes were filled with stone plugs and stuccoed over to hide their nature.
While normally a relic as important as the sarcophagus would be moved to a museum and a replica put in it's place, the temple was built around this tomb, and the sarcophagus lid is far too large to be brought up the stairway.
The setting for this site is incredible, in the heart of the jungle with thick vegetation all around. Like just about everywhere we have visited on this trip, there are a lot more people around than there were in the past. During our first visit, we saw just a handful of other people. Today there are hundreds or thousands of visitors per day, depending on the season. In spite of the heavy current use, Palenque is well preserved and beautiful.
Unlike some of the Mayan sites on the Yucatan, water was no problem here as it rains 10 months of the year.
The stone-walled "aqueduct" is likely at or near the original streambed, but controlled, diverted, and at one point covered, to better serve the city.
We love this site and could go on and on, but instead, we'll show you more pictures.
Heading to the exit, we encountered this waterfall.
Because of heavy rain the night before, the on-site waterfall was flowing freely.
Palenque has a great museum just outside the site, housing and protecting valuable finds.
Here is another excellent website about Palenque. We tried (in vain) to avoid going into too much detail. There is a ton of information out there if you're interested. And, of course, we suggest you go there yourself!
Well, that's it for now. Don't forget to click on "follow" to get email updates of our blog. As always, we like to hear your comments, questions, and suggestions. Thanks for reading!
Another great post. Hope all is going swell for you guys. Miss you both!
What a cool site! My favorite post, so far. Did you come across any Pox in Chiapas?
You'll have to wait for the pox post, but yes!
IDK – sure looks like a spaceship to me . . .
You guys look great. Although, it's rather unfortunate that you do not have the fanny pack for the photo recreation.


text:
Q: Data provider mismatch TestNG using RestAssured I've been playing about with RestAssured and started using data providers for data driven tests. I'm currently getting a data provider mismatch error. I'm assuming it will be because im passing in a string or perhaps my api endpoint is incorrect? Also and this may be a different thread altogether. If I wanted to match my response to all of the records in this case 1000 is there a better way to check all 1000 records instead of a few?
public class test extends enablers {

@DataProvider
public Object[][] getData() {
    return new Object[][]{{24, "27.110.128.25", "Fuling" },
            {145, "212.132.237.53", "Muruni" }};
}

@Test(dataProvider = "getData")
public void GetUserId(String data, int userId, String ipAddress, String expectedCity) {

    given().
            pathParam("id", userId).pathParam("ip_address", ipAddress).
            when().
            get(id).
            then().
            assertThat().
            body(("id[0].'city'"), equalTo(expectedCity));

}
}

   org.testng.internal.reflect.MethodMatcherException:
Data provider mismatch
Method: GetUserId([Parameter{index=0, type=java.lang.String, declaredAnnotations=[]}, Parameter{index=1, type=int, declaredAnnotations=[]}, Parameter{index=2, type=java.lang.String, declaredAnnotations=[]}, Parameter{index=3, type=java.lang.String, declaredAnnotations=[]}])
Arguments: [(java.lang.Integer)24,(java.lang.String)27.110.128.25,(java.lang.String)Fuling]

    at org.testng.internal.reflect.DataProviderMethodMatcher.getConformingArguments(DataProviderMethodMatcher.java:52)
    at org.testng.internal.Invoker.injectParameters(Invoker.java:1278)
    at org.testng.internal.Invoker.invokeTestMethods(Invoker.java:1171)
    at org.testng.internal.TestMethodWorker.invokeTestMethods(TestMethodWorker.java:129)
    at org.testng.internal.TestMethodWorker.run(TestMethodWorker.java:112)
    at org.testng.TestRunner.privateRun(TestRunner.java:756)
    at org.testng.TestRunner.run(TestRunner.java:610)
    at org.testng.SuiteRunner.runTest(SuiteRunner.java:387)
    at org.testng.SuiteRunner.runSequentially(SuiteRunner.java:382)
    at org.testng.SuiteRunner.privateRun(SuiteRunner.java:340)
    at org.testng.SuiteRunner.run(SuiteRunner.java:289)
    at org.testng.SuiteRunnerWorker.runSuite(SuiteRunnerWorker.java:52)
    at org.testng.SuiteRunnerWorker.run(SuiteRunnerWorker.java:86)
    at org.testng.TestNG.runSuitesSequentially(TestNG.java:1293)
    at org.testng.TestNG.runSuitesLocally(TestNG.java:1218)
    at org.testng.TestNG.runSuites(TestNG.java:1133)
    at org.testng.TestNG.run(TestNG.java:1104)
    at org.testng.IDEARemoteTestNG.run(IDEARemoteTestNG.java:73)
    at org.testng.RemoteTestNGStarter.main(RemoteTestNGStarter.java:123)

Test ignored.

===============================================
Default Suite
Total tests run: 1, Failures: 1, Skips: 0
===============================================

Here's my endpoint
    String id = "http://bpdts-test-app-v2.herokuapp.com/user/{id}/{ip-address}";

A: Your dataprovider should be like
@DataProvider(name="getData")
public Object[][] getData() {
    return new Object[][]{{24, "27.110.128.25", "Fuling" },
            {145, "212.132.237.53", "Muruni" }};
}

Your test annotation will look dataprovider based on the @DataProvider name attribute not based on method name
so that your code will be like
public class test extends enablers {

    @DataProvider(name="getData")
    public Object[][] getData() {
        return new Object[][]{{24, "27.110.128.25", "Fuling" },
                {145, "212.132.237.53", "Muruni" }};
    }

    @Test(dataProvider = "getData")
    public void GetUserId(String data, int userId, String ipAddress, String expectedCity) {
        given().
                pathParam("id", userId).pathParam("ip_address", ipAddress).
                when().
                get(id).
                then().
                assertThat().
                body(("id[0].'city'"), equalTo(expectedCity));
    }
}

Your dataprovider returns 3 object whereas your test method need 4 values since it has four arguments.try by updating required data in your dataprovider which should return object of length 4 like
@DataProvider(name="getData")
    public Object[][] getData() {
        return new Object[][]{
                //Add required userid in place of 2
                //And 24,145 should be string
                {"24",2,"27.110.128.25", "Fuling" },
                {"145",2,"212.132.237.53", "Muruni" }
        };
     }

And your first value need to be string in place of 24 and 145

redpajama_set_name: RedPajamaStackExchange


The Contacts page in the Dossier portal displays details about all your customer and team contacts. Use the POST button to send messages to everyone listed on this page. The contacts list includes names, titles, and email addresses.


text:
The View From the Road (2015 – ongoing)
Speedscaping. 2015. ArchiCAD drawing: Joseph Lythe
Speedscaping. 2015. Diorama Model. Installation View. Goldsmiths, University of London
Nick Ferguson. 2015. The Mobile Landscape. Production Image.
During a House of Lords discussion in December 2004, the Labour peer Lord Sheldon noted that trailers parked in agricultural land were "pretending to be on their way to somewhere and holding advertisements". On both sides of the House, there was concern that the trailers flout planning regulations, whereby they circumvent laws prohibiting fixed advertising boards by the side of motorways (UK Gov, 2004). The View from the Road is a visual arts project that explores these billboards and the mutations by which they continue to thrive. Through case studies from South East England, it seeks to position the billboards in relation to ecology, sociologies of mobility, aesthetic politics, and political histories of land use.
The project takes the form of walking workshops, speculative architectural modelling, drawing, investigative journalism, photography, talks and presentations. Interpretive and theoretical frameworks include: art history, the sociology of mobility, non representational theory, political geography, and spatial theories that inform art, architecture and urban studies. To an art historical cannon dominated by representations of static billboards in the US context, it brings a new billboard typology and a new geographical context. It asks: How might aesthetic enquiry into the billboards contribute to their critical appraisal? These investigations reveal how the billboards constitute a new and specific configuration of land, landscape, landownership and vision under the conditions of neoliberal democracy in the UK. In this respect, they help write the complex social and political histories of England's countryside, and have cultural heritage value. Additionally, they (the investigations) contribute to discourses of vision, the subversion of clear vision, and re-visioning the relationship between the highway and the places through which it passes. They bring the project into proximity with the sociology of mobility which, since the first decade of the twentieth century, has sought to articulate a research paradigm able to capture concepts such as networks, passage and flow.
Outputs have taken the form of online artworks hosted by Future Architecture Platform and the Stanley Picker Gallery, a book chapter, and a visual arts exhibition at Goldsmiths, University of London. The project will interest students, scholars and wider audiences of visual cultures, mobility studies, and the politics of landscape.
Nick Ferguson. 2014. M25, Longford 2
Nick Ferguson. 2014. M40
Research Context
Since at least 2004, Government, businesses, and non-profit organisations such as the Countryside Alliance have discussed the rise in roadside advertising that exploits a loophole in UK law. Within the visual arts, critical approaches to billboard landscapes is indebted to the pioneering work of pop and post pop artists such as Peter Blake and Ed Ruscha in the 1960s and 70s. In his provocatively titled book God's Own Junkyard, Blake presents the US as an Eden transformed under unchecked capitalism, condemning the billboards as 'scars' and 'pestering sores' that blight the landscape (Blake, 1964: 125). Blake's writing has assumed a concept of landscape in its art historical, Romantic sense: the pictorial. However, his prose is offset by rich illustrations that signal a more ambivalent relationship to the places he has visited. In this alternative presentation, landscape is taken to be a territory subjected to a mapping impulse of detailed, disinterested observation. Thus, Blake's project drew attention to the presence of two rival concepts of landscape. It also positioned artistic enquiry into billboard landscapes as an instrument with which to investigate these concepts. It did not, however, significantly advance understanding of the relationship between these concepts or of how they relate to wider theories about the pictorial, observation and the politics of land.
Ruscha takes the billboards that punctuate the rural and urban landscapes of southern California as material for his art. His treatment, one of cool reserve and devoid of judgement, is decisively indebted to the mapping impulse. It is also a way of playing out an artist's persona that was gaining traction by the 1960s, as theorised by historian Moira Roth in her essay The Aesthetics of Indifference (1998.) Roth understood this persona as delivering a critique of the oppressive political regimes of the time and argued that it was played out in pop's indifference to the subjects it investigated. Although not discussed by Roth, Ruscha's billboards also exemplify the critique she identifies, signalling that this body of work belongs at the forefront of critical enquiry into the relationship between artistic vision, territory and liberal political thought.
Walker Evans. 1933-4 Billboard Painter
Peter Blake. 1964. Page from. Gods Own Junkyard
Ed Ruscha. 1976. Liquor Locker. From the series. Sunset Strip
In his PhD thesis Ferguson explored the relationship between vision and power. He argued that vision is inherently interested and proprietary, and that clear vision is foundational to extraction economies and its attendant political and social oppression. If these colonial patterns of thought are to be broken, then the interruption of clear vision, actual or symbolic, might play a part in the process. This project takes up the problem through an investigation of landscape. It is in part an attempt to see whether an landscape can make a claim upon the imagination independently of desire. To see whether it can escape the gaze and become a thing that acts independently upon the subject.
The relationship between the road and the places through which it passes has engaged commentators across the arts and social sciences, particularly within the disciplines of architecture and film studies. In film, for instance, the car windscreen has been imagined as a cinematic screen on which an ever-changing view is projected. Paul Virilio's essay on apprehending speed, Dromoscopy (1978), is both pioneering and exemplary in this line of thought and Iain Borden's 2013 book Drive has provided a valuable survey of how the experience of seeing from the car has been represented within the medium.
The process of dromoscopy is taken up in the visual arts by artists Robert Smithson in Incidents of Mirror Travel in Yukatan (1971) and Rachel Lowe in Letter to an Unknown Person (1996). For both, the car window provides a a framing device that, when moving at speed affords a method of viewing landscape which subvert's landscape painter's slow, privileged attention in which the land is orientated towards the subject's acquisitive mind. In this way the fleeting landscape conditions a shallow, almost indifferent gaze. The reappraisal of the driver's gaze finds further treatment in Michael Schwarzers Zoomscape where the author notes: 'Driving encourages a nonchalant way of looking.' (2004: 72). If, as I have argued in my doctoral research, artistic attention has its origins in the aristocratic affectation nonchalance, then the billboards that line the highway in South East England suggest themselves as an opportunity to test the possibilities of dromoscopy as a mode of attention, or method adopted by the art researcher.
Dromoscopy is also implicit in the spectatorship of Anthony Gormley's Angel of the North, a colossal steel sculpture commissioned by Artangel and completed in 1998. Gormley's work stands 20m tall and 54m wide on a hill next to the A1 Motorway just south of Gateshead, UK, and can be viewed from a distance of several kilometers by motorists passing from either direction. The departure that Gormley makes from the previous examples in the visual arts is first, that it is a type of viewing practice adopted by the art goer rather than the artist, and second, dromoscopy is an absolute condition of tourism, whereby its practice is a function of the fact that it is simply impossible to stop.
The arrival of billboards in the UK countryside offers a fresh opportunity to explore these ideas further. Of particular interest is their mobility and their use of agricultural land as this is seemingly a new phenomenon that promises to shed light on changes in land use and interpretation under free market capitalism. Their relationship to the road opens new possibilities in philosophies of vision. In the context of the discipline of art practice, the billboards also suggests new avenues for the exploration of the aesthetics of indifference
1. Development of a proposal to use a billboard for a public artwork.
Thinking: speculating/imagining
In order to make space in which to think about what kind of knowledge the project would try to produce – to arrive at questions -, a pretext was invented for investigating the billboards. This took the form of a proposal to use a roadside billboards as a site for a public artwork. As an established art form in itself, the proposal medium would open up insights to be gleaned from the various processes required for its development – forays into the countryside to visit billboard sites, hiring one, designing an artwork – without necessitating its realization. In this way it would facilitate the production of knowledge non-representationally (i.e. through embodied experience), and without having to negotiate the political reality of installing a work adjacent to the highway. It was clear from the outset that, on account of the illegality of the billboards under scrutiny, and the distraction to drivers that would be posed by an artwork that made use of one, a publicly funded commission was unlikely to be realised.
Sensing: Dérive
In search of a site for the proposal, between 2012 and 2015 Ferguson and collaborator Richard Beard visited and photographed mobile billboards parked on agricultural land adjacent to the M25, the M40 and A12.
The hope was for a revelatory event in the early stages of the proposal development that would form a beginning of the artwork's concept.
Nick Ferguson and Richard Beard. 2013. Billboard.
Nick Ferguson and Richard Beard. 2013. Billboard with landscape.
Sensing: Driving at speed
Driving at speed past the billboards was instrumental in the development of a concept. The difficulty posed by photographing the billboards at speed was at odds with the mastery of landscape familiar in both art and visual culture more widely. This observation provoked questions altogether more specific than those that had occasioned the forays in the first place: For instance: How is the category place affected by the inattention that characterises the drive-by gaze? That is to ask: how is it affected by the curtailment of phenomenological knowledge, so that discrete objects – buildings, trees and even people – are potentially reduced to imagistic fragment? Might the experience of seeing at speed provide a critical apparatus through which to disrupt economies of clear vision, value extraction, and oppression?
The core concept emerged from these beginnings. The proposal would be to depict on the billboard a landscape that promised to be pleasurable to view, but to present it in such a way that this pleasure was repeatedly frustrated.
Emerging ideas were presented informally in a range of forums – the pub, dinners and on one occasion a living room in Wells Street, Hackney, where a curator friend invited other artists and curators to see the project in progress.
Using 2 and 3D modelling techniques, experiments were made with frustrating the view.
Nick Ferguson and Richard Beard. 2013. Billboard with landscape. Mixed media
Nick Ferguson. 2014. Billboard with landscape. Pencil on paper.
Nick Ferguson. 2014. Billboard with landscape 2. Pencil on paper.
The leading idea was realized digitally in collaboration with architect Joseph Lythe. The billboard would be printed up with a view of the landscape in which it was positioned. As the motorist past the billboard, the image on its surface would line up with the background. However, this would take place only as the billboard passed from view.
Location map. ArchiCAD drawing: Joseph Lythe
Elevation. ArchiCAD drawing: Joseph Lythe
Still. ArchiCAD drawing: Joseph Lythe
Experiments with print media for production of the artwork that would be affixed to the trailer. These involved the use of anamorphic projection diagrams to calculate the required correction to the image so that it coincides with the background landscape when viewed from the road. Three full scale fragments of the billboard were printed onto blue backed billboard paper each measuring 1m x 1.8m.
Billboard artwork prior to anamorphic adjustment.
Projection diagram showing anamorphic adjustment required for the image needed to look normal when viewed from the road.
Billboard artwork following anamorphic adjustment
Billboard test strips. Digital print on blue back billboard paper
Billboard fragment. 1.8m x 1.2m. Digital print on blue back billboard paper
Billboard Fragment detail. Digital print on blue back billboard paper.
3D diorama modelling to convey the proposal in physical space. Location. Fulmer House Farm. M40 westbound.
Diorama (detail). Location. Fulmer House Farm. M40 westbound. Scale 1:150
6. Archaeology
Removal of the surface paint concealing a logo on a trailer to identify its provenance.
Photographing the trace of the logo and reproducing its design using Adobe Illustrator.
Attempting to match the uncovered logo with those of haulage companies past and present.
Land search to establish the ownership of a field where one of the billboard trailers was parked.
Historical and economic research into highway landscaping, roadside ecology, and economic values of land adjacent to the highway.
Nick Ferguson. 2013. Logo. M25 J14.
Speedscaping. 2015. Digital drive past. Installation view. Goldsmiths, University of London. ArchiCAD drawing: Joseph Lythe.
Speedscaping. 2015. Projection Diagram.
Speedscaping: Proposal for a Public Artwork (2015) Exhibited Goldsmiths Art Research Space. Feb 23 – Mar 5, 2015
The proposal comprises four exhibits. (i.). Poster. (ii.) 3D diorama model. (iii.) Billboard fragment. (iv). Digital drive past
Speedscaping: Proposal for a Public Artwork was exhibited in the Goldsmiths Art Research space in 2015 and the poster exhibit is hosted online with Future Architecture Platform at this address.
The Mobile Landscape (2015)
The Mobile Landscape is an online artwork hosted by The Stanley Picker Gallery, Kingston Upon Thames. Link to online artwork
'Speedscaping'. In: Mackay. R. 2015. Urbanomic.
Speedscaping is a book chapter comprising images and a text that discusses the project. It was commissioned by Robin Mackay and funded through Goldsmiths.
Link to: When Site Lost the Plot.
Link to Kingston University repository for book chapter details: https://eprints.kingston.ac.uk/33801/
Through exposure to the billboard sites and various acts of making that include speculative modelling, photography and curatorial practices, it was possible to stage a reappraisal of the value of roadside advertising hoardings in South East England. The project signalled their cultural heritage value and a role in understanding the complex social and political histories of the countryside. It also contributes to critiques of economies of clear vision and experiments with its subversion.
Through the mediums of performance lecture and online artwork, the project questions dominant discourses of the highway as a 'non-place' and the Highways Agency's positioning of the countryside as space to be traversed. It shows instead that a highway is richly connected and interdependent with the territory through which it passes and that communities near or adjacent to the highway have adapted to being viewed at speed. These changes belong within a longer history of England's changing land use. The billboards contribute to what urban theorist Neil Brenner has called an operational landscape – a capitalist form of urbanisation that "transforms non-city spaces into zones of high-intensity, large-scale industrial infrastructure"(2016:125) As such they are an aesthetic manifestation of neoliberal democracy bearing material witness to the aesthetic indifference of free market capitalism.
Through the medium of the proposal, the project prompts reflection on the visual and conceptual separation between the road and its context. Though the same medium, it brings the concept of dromoscopy – seeing at speed – in contact with artistic strategies of disruption. The motorist/viewer is denied the pleasure of a harmonious, integral landscape orientated to his or her gaze. If the billboard is a category of architecture, then architecture is assigned a future role as playful commentator on the impossibility of a satisfactory view of place when seen at speed.
There are inescapable structural parallels between art practice's critical methods of aesthetic indifference, and the liberal logics of free market economics that have produced the billboard landscapes in the UK. During debates in the House of Lords, while the issue of safety is raised in the discussion, the complaint against them on both sides of the house that they and spoil the scenery (UK Parliament, 2004; 2010). The fundamental problem, is not one of safety, but aesthetics – an ideological rather than practical problem – raising political questions about what the countryside is for and who its primary beneficiaries should be. As if by way of signpost through this contested terrain, at a further discussion of the topic in 2010, the Conservative peer Lord Forsyth contended that there is nothing wrong with a bit of free enterprise on the part of landowners and advocates that the government steps back from interfering (2010). Aesthetic indifference, in the form of market logic, would be the basis on which judgement was to be passed. Not least, they both turn on a notion of indifference – liberalism via the principle of laissez-faire, art via the concept of aesthetic attention – whereby various forms of interestedness are suspended.
Alpes, S. 2005. The Vexations of Art. Velazquez and Others. Newhaven and London, Yale University Press.
Appleyard, D. Lynch. K and Myer J. 1964. The View From the Road. Cambridge Mass.
Ballard, J. 2014. Concrete Island. Fourth Estate.
Blake. P. 1964. God's Own Junkyard. Henry Holt & Co.
Borden, I. 2013. Drive. Journeys Through Film, Cities and Landscapes. Reaktion Books.
Brenner, N. 2016.The Hinterland Urbanised. AD / Architectural Design, July/August, 2016, 118-127. Available at: http://www.urbantheorylab.net/publications/the-hinterland-urbanized/
Copely. S. 2010. The Politics of the Picturesque: Literature, Landscape, and Aesthetics Since 1770. Cambridge University Press
Cosgrove. D. 2012. Geography and Vision. I B Tauris
Grabner, M and Killam B. (n.d) The Poor Farm. Available at: http://poorfarmexperiment.org/about/
Gray, E. 2005. Don Juan and the Poetics of Tourism. In: Poetry and Indifference. From the Romantics to the Rubáiyát. Amhurst and Boston: University of Massacusetts Press
Jacobsen. K, Leming. W. 2013. American Road. [DVD] Cold Chicago Productions.
Lowe, R. 1996. Letter to an Unknown Person. Available at: http://visualarts.britishcouncil.org/exhibitions/exhibition/landscape-2000/object/a-letter-to-an-unknown-person-no-5-lowe-1996-p7171
Merriman, P. 2007. Driving Spaces. A Cultural-historical Geography of England's M1 Motorway. Wiley-Blackwell.
Mitchell. W. 2002. Landscape and Power. University of Chicago Press.
Petit, C and Sinclair, I. 2002. London Orbital. DVD.
Roth. M. The Aesthetics of Indifference. In: Roth. M. 1998 Difference/Indifference. Musings on Postmodernism, Marcel Duchamp and John Cage, Critical Voices in Art, Theory and Culture. Routledge
Ruscha. E. 1966. Every Building on the Sunset Strip. Los Angeles. Self Published.
Schwarzer. M. 2004. Zoomscape. Architecture in Motion and Media. Princetown Architectural Press
UK Gov. 2004. Parliamentary Business Publications and Records. Available at https://publications.parliament.uk/pa/ld200405/ldhansrd/vo041215/text/41215-03.htm
UK Gov. 2010. Roads: Illegal Motorway Advertising. Available at: https://www.theyworkforyou.com/lords/?id=2010-07-21a.967.5
Vertov. D. 1929. Man With a Movie Camera. DVD
Virilio, P. 1998. 'Dromoscopy, or the Ecstasy of Enormity'. Trans. Edward O'Neill. Wide Angle 20.3 (1998) 11-22
Date: November 23rd, 2014

redpajama_set_name: RedPajamaCommonCrawl


text:
ACCEPTED

#### According to
Index Fungorum

#### Published in
Kew Bull. , Addit. Ser. 12: 399 (1986)

#### Original name
Agaricus abjectus Berk. & Broome

### Remarks
null

redpajama_set_name: RedPajamaGithub


text:
Q: React Navigation 5: Fixing headerRight Spacing This is what my header looks like now:

And this is what I am trying to achieve:

Code snippet:
<Stack.Navigator initialRouteName="MenuRoute">
        <Stack.Screen
          name={'MenuRoute'}
          component={Menu}
          options={({navigation, route}) => ({
            headerTitle: () => (
              <Text
                style={{
                  ...styles.headerTitle,
                }}>
                <Translatable value="Menu" />
              </Text>
            ),
            headerLeft: () => <AuthMenuPicker {...navigation} {...route} />,
            headerRight: () => (
              <View style={styles.row}>
                <FacebookButton {...navigation} {...route}/>
                <LanguagePicker />
              </View>
            ),
            headerStyle,
          })}
        />

        .....
        .....
        .....

</Stack.Navigator>

const styles = StyleSheet.create({
  row: {
    flexDirection: 'row',
  }
});

How can I move the Facebook Logo towards the right side (as shown in the image)?
I have tried marginLeft and paddingLeft but nothing seems to do the trick.

All help would be appreciated as I am new with this issue and with react navigation 5 in general.
UPDATE#1:
Added borderWidth:1 and borderColor: 'red' to clearly show the headerLeft area:
const styles = StyleSheet.create({
  row: {
    flexDirection: 'row',
    borderWidth: 1,
    borderColor:  'red',
  }
});

UPDATE#2 - Added component code snippets:
Code Snippet (FacebookButton component):
import React, { Component } from 'react';
import { StyleSheet } from 'react-native';
import { Button } from 'react-native-paper';
import Entypo from 'react-native-vector-icons/Entypo';
import {FACEBOOK} from '../constants';

class FacebookButton extends Component {
    constructor(props) {
        super(props);
    }

    componentDidMount() { }

    render() {
        return (
            <>
                <Button
                    //onPress={() => alert()}
                    onPress={() => {
                        this.props.navigate(
                            'FacebookMenuWebviewRoute',
                            {
                                url: FACEBOOK.FACEBOOK_PAGE,
                            },
                        );
                    }}
                >
                    <Entypo
                        name="facebook"
                        size={this.props.iconSize || 25}
                        style={{ ...styles.icon, ...this.props.iconStyle }}
                    />
                </Button>
            </>
        );
    }
}

export const styles = StyleSheet.create({
    icon: {
        color: 'white',
    },
});

export default FacebookButton;

Code snippet (LanguagePicker component):
    import React, {Component} from 'react';
    import {StyleSheet} from 'react-native';
    import {Menu, Button, withTheme} from 'react-native-paper';
    import Fontisto from 'react-native-vector-icons/Fontisto';
    import {IntlContext} from '../utility/context/Internationalization';

    class LanguagePicker extends Component {

      ...
      ...
      ...

      renderPicker() {
        return (
          <IntlContext.Consumer>
            {(context) => {
              return (
                <Menu
                  visible={this.state.showMenu}
                  onDismiss={() => this.showMenu(false)}
                  anchor={
                    <Button
                      onPress={() => this.showMenu(true)}
                      style={{
                        ...styles.menuButton,
                        ...this.props.menuButtonStyle,
                      }}>
                      <Fontisto
                        name="earth"
                        size={this.props.iconSize || 25}
                        style={{...styles.icon, ...this.props.iconStyle}}
                      />
                    </Button>
                  }>
                  {this.renderPickerItems(context)}
                </Menu>
              );
            }}
          </IntlContext.Consumer>
        );
      }

      render() {
        return <>{this.renderPicker()}</>;
      }
    }

    export const styles = StyleSheet.create({
      menuButton: {},
      icon: {
        color: 'white',
      },
    });

    export default withTheme(LanguagePicker);

A: Thank you @GuruparanGiritharan for pointing out about the wrappers.
Solution:
Code snippet FacebookButton component:
 <TouchableOpacity
          style={{ justifyContent: 'center' }}
          onPress={() => { ... }
    >
              <Entypo
                 name="facebook"
                 size={this.props.iconSize || 25}
                 style={{ ...styles.icon, ...this.props.iconStyle }}
              />
</TouchableOpacity>

New Header:

Explanation:
I was using Button component from react-native-paper and the component had its own fixed spacing. This caused the Facebook icon to be too spaced out.
Thus, removing the Button component and simply adding TouchableOpacity from react-native helped to reduce the space between the two icons on the header.


Cotabato City - Teduray's traditional leaders (timuays) and volunteer teachers converged for three days 3-day workshop. Newly-reappointed ARMM Deputy Governor for Indigenous Peoples Timuay Hilario Tanzo said, this workshop aimed to identify areas, competencies and themes under the New Early Learning Framework (NELF) where Teduray norms, traditions and customs can be integrated; and to design concept and activity webs based on the daily life environment of 5-year old Teduray children.
This workshop is part of the synergy to support IP education under the ARMM HELPS framework which was ordered by Regional Governor Mujiv Hataman.
During the workshop, facilitators from the Lingap sa Kabataan, Inc, also presented the outcome of their 3-month study.
This activity is supported by the DepEd-ARMM and UNICEF.


text:
Joshua 9 is the ninth chapter of the Book of Joshua in the Hebrew Bible or in the Old Testament of the Christian Bible. According to Jewish tradition  the book was attributed to the Joshua, with additions by the high priests Eleazar and Phinehas, but modern scholars view it as part of the Deuteronomistic History, which spans the books of Deuteronomy to 2 Kings, attributed to nationalistic and devotedly Yahwistic writers during the time of the reformer Judean king Josiah in 7th century BCE. This chapter focuses on the deception by the people of Gibeon to avoid annihilation by having a treaty with the people of Israel under the leadership of Joshua, a part of a section comprising Joshua 5:13–12:24 about the conquest of Canaan.

Text
This chapter was originally written in the Hebrew language. It is divided into 27 verses.

Textual witnesses
Some early manuscripts containing the text of this chapter in Hebrew are of the Masoretic Text tradition, which includes the Codex Cairensis (895), Aleppo Codex (10th century), and Codex Leningradensis (1008).

Extant ancient manuscripts of a translation into Koine Greek known as the Septuagint (originally was made in the last few centuries BCE) include Codex Vaticanus (B; B; 4th century) and Codex Alexandrinus (A; A; 5th century). Fragments of the Septuagint Greek text containing this chapter is found in manuscripts such as Washington Manuscript I (5th century CE), and a reduced version of the Septuagint text is found in the illustrated Joshua Roll.

Analysis
The narrative of the Israelites conquering the land of Canaan comprises verses 5:13 to 12:24 of the Book of Joshua and has the following outline:

A. Jericho (5:13–6:27)
B. Achan and Ai (7:1–8:29)
C. Renewal at Mount Ebal (8:30–35)
D. The Gibeonite Deception (9:1–27)
1. Response of Canaanite Kings to Jericho and Ai (9:1-2)
2. Report of the Gibeonites' Deception (9:3-13)
3. Israel Establishes a Covenant with Gibeon (9:14-15)
4. Israel's First Response to Discovering the Deception (9:16-21)
5. The Gibeonites Explain Their Actions to Joshua (9:22-27)
E. The Campaign in the South (10:1–43)
F. The Campaign in the North and Summary List of Kings (11:1–12:24)

Israel Establishes a Covenant with Gibeon (9:1–15)
The successes of Israel at Jericho and Ai caused independent kings of different nations in Canaan (Deuteronomy 1:7; 7:1; Joshua 3:10; the Girgashites are not listed here) to form an alliance in anticipation of the battle with the Israelites (verses 1–2), except for the Gibeonites, parts of the Hivites, who decided to pretend that they were from a faraway land (verse 3) and to make a peace treaty with the Israelites (verse 6).
Gibeon lay to the south of Bethel and Ai, a little to the north of Jerusalem, while the Israelite camp was still at Gilgal (verse 6), near Jericho.  A treaty, or 'covenant' (Hebrew: berit, the same word used for God's covenant with Israel, Exodus 24:7), was a 'universal mean of establishing relationships among peoples in the ancient Near East' (cf. Joshua 24). The Gibeonites acknowledge of Israel's successes since Egypt to the victories in Transjordan (verses 9–10), so they seek an inferior status (to be "vassal") as the price of survival. The 'leaders' (verse 14; or 'leaders of the congregation' in verse 18) of Israel, who represent Israel in an official way, conclude the treaty, eating the Gibeonites' provisions, and then Joshua makes peace with them. The narrative, however, states that the treaty was not according to the will of YHWH, because the Israelites did not consult YHWH about it.

The responses after discovering the deception (9:16–27)

When the Gibeonites was revealed to be local inhabitants, the Israelites debated whether they should still implement the herem ("ban"; verse 16–21) on these people, or rather honor the oath, and the decision was for the latter, with the Gibeonites consigned to servitude, as the retribution of their deceit. The short report in verse 21 is expanded in the final paragraph (verses 22–27) with a dialogue between Joshua and the Gibeonites, in which Joshua pronounced them 'cursed' for acquiring the treaty by deceit and the Gibeonites accepted the right of the Israelites (here, of Joshua) to decide their fate. The Gibeonites was assigned to servitude at the 'place that YHWH should choose', that is, the main worship sanctuary of Israel (Deuteronomy 12:5, 14), which may refer to  Shiloh (Jeremiah 7:12), a central sanctuary for Israel before Jerusalem (1 Samuel 1–3) or to city of Gibeon, as the great 'high place' at which Solomon would worship before building the temple (1 Kings 3:4), where the tent of meeting was established after Shiloh (2 Chronicles 1:3). By the time of Saul's reign, the application of the treaty was already well established, that when Saul broke the covenant by killing the Gibeonites probably to extend his territory in Benjamin, Israel suffered the consequences of a famine (2 Samuel 21).

Verse 17

And the people of Israel set out and reached their cities on the third day. Now their cities were Gibeon, Chephirah, Beeroth, and Kiriath-jearim.
This verse shows that the "Gibeonites" live in four towns (a "tetrapolis"). Three of the four cities, without Gibeon, appear in Ezra 2:25 and Nehemiah 7:29.
Gibeon: is identified with "el-Jib", located in a valley basin next to the central watershed, the northern most of the four cities.
Chephirah: is identified with "Khirbat el-Kefireh", west of Gibeon.
Beeroth: was identified with "el-Bireh", but modern scholars believe it should be identified with Khirbet el-Burj near Beit Iksa, south of Gibeon.
Kiriath-jearim: is identified with "Deir el-'Azar ('Azhar)", south of Chepirah, west of Gibeon, above the village of Abu Gosh.

See also

Related Bible parts: Joshua 5, Joshua 8, 2 Samuel 21

Notes

References

Sources

External links
 Jewish translations:
 Yehoshua - Joshua - Chapter 9 (Judaica Press). Hebrew text and English translation [with Rashi's commentary] at Chabad.org
 Christian translations:
 Online Bible at GospelHall.org (ESV, KJV, Darby, American Standard Version, Bible in Basic English)
 Joshua chapter 9. Bible Gateway

09

redpajama_set_name: RedPajamaWikipedia


LOS ANGELES, Dec. 19, 2017 /PRNewswire/ -- Dr. Norman Quintero released the following statement criticizing the Republican-controlled United States Senate and United States House of Representatives for their passage of Tax Reform.
Dr. Quintero has a long history as a community advocate.
"After forcing the GOP tax bill through the Senate in the middle of the night, House and Senate Republicans conference ironed out their differences and agreed on a plan that provided a major tax cut to corporations. It would hike taxes on millions of families and raises health insurance premiums, ships good-paying American jobs overseas and hurts generations to come with exploding debt," added Dr. Quintero.
"This tax plan will hurt our economy rather than benefit the hard-working people of the United States," said Dr. Norman Quintero. According to the Congressional Budget Office (CBO) this tax plan will leave 13 million Americans without health insurance by year 2027. The average individual with ages 50 to 64 will face insurance premium increases up to $1500.00 in 2019 according to an AARP Public Policy Institute Analysis. "This Tax Reform does not provide a tangible benefit to the hard-working class of the United States. It only provides a tangible benefit for the wealthy 1 percent," Dr. Quintero added.
According to the Tax Policy Center's analysis, in 2019, households across the board will save on taxes under the Senate's version of the bill. Those in the lowest quintile, with incomes below $25,000, would get an average tax cut of $40, while middle-income households earning between $50,000 and $87,000 would get an average tax cut of about $800, according to the Tax Policy Center. "The only responsible choice is to abandon this bill and join Democrats to enact real tax reform that puts the middle class first," continued Dr. Quintero.
For the top 1 percent of households — those whose income exceeds $750,000 — taxes would fall by an average of $28,000, the Tax Policy Center found. But consumers may not benefit in the long haul. The Senate's tax cuts become less generous by 2027, averaging out to about $300, according to the Tax Policy Center. This is because nearly all the individual income tax provisions expire after 2025.
"The American people deserve better than this trickle-down product. Hard-working men and women in every corner of the country will hold their representatives accountable if they do not walk away from this vote to raise taxes on their own constituents," ended Dr. Norman Quintero.
Dr. Norman Quintero was born in the Island of Puerto Rico and holds 2 doctorate degrees. He is a licensed real estate broker in Florida and California. He is a Mental Health Clinician in the State of California working in a clinic in the City of Menifee. He owns radio and television Hispanic networks and host a weekly nationwide television show. He is also the pastor of Iglesia Getsemani located in Orange County, California. He has a long history of community activism both in Florida and California.
https://www.cbo.gov/system/files/115th-congress-2017-2018/reports/53300-individualmandate.pdf - Page 1 and Table 2.


Farm Credit Mid-America is a $22 billion lending cooperative serving more than 100,000 farmers, agribusinesses and rural residents throughout Indiana, Ohio, Kentucky and Tennessee. Loans are available for farm real estate, operating, equipment and livestock. We offer crop insurance and building and equipment leases.
Lowell Hill - Duration: 2 minutes, 1 second.
Tony Wolfe - Duration: 2 minutes, 1 second.
Rusty Goebel - Duration: 2 minutes, 1 second.
Michael Boyert - Duration: 2 minutes, 1 second.
Alan Meyer - Duration: 2 minutes, 1 second.
Financially Speaking: 2018 Dairy Industry Update (Episode 19) - Duration: 4 minutes, 2 seconds.
Commodity Classic Recap with Bill Johnson - Duration: 92 seconds.
National FFA Week - Duration: 2 minutes, 45 seconds.
Financially Speaking: 2018 Interest Rate Update (Episode 18) - Duration: 2 minutes, 4 seconds.
Financially Speaking: 5 Steps to Crop Insurance Planning (Episode 17) - Duration: 2 minutes, 58 seconds.
Financially Speaking: Maximize Your Operating Credit (Episode 16) - Duration: 3 minutes, 33 seconds.
Farm Credit and 4-H: Preparing Swine for Their Time to Shine - Duration: 66 seconds.


text:
Q: Needing assistance with DSE C# driver configuration over SSL Having trouble configuring a DSE C# driver to use SSL. I have spun up my own DSE Cluster with one node and node to node encryption as well as client to node encryption turned on. No errors! However below is a small code that I am using to test a that i can connect to the cluster with SSL.

class Program
    {
        static void Main(string[] args)
        {
            X509Certificate2Collection collection;
            using (var store = new X509Store(StoreLocation.LocalMachine))
            {
                store.Open(OpenFlags.ReadOnly);
                collection = store.Certificates;
            }

            var cluster = Cluster.Builder()
                .AddContactPoints("192.168.14.11")
                .WithCredentials("cassandra","cassandra")
                .WithSSL(new SSLOptions().SetCertificateCollection(collection))
                .Build();

            ISession session = cluster.Connect();

            global::System.Console.WriteLine("test");

        }
    }

I keep receiving the following error when it gets to the session:
"Dse.NoHostAvailableException: 'All hosts tried for query failed (tried 192.168.14.11:9042: AuthenticationException 'The remote certificate is invalid according to the validation procedure.')'"
I also imported both the nodes and cacert into my machines local.
On the cluster side it throws the following error:
javax.net.ssl.SSLException: Received fatal alert: Cerrtificate_unknown.


text:
St. Paul's Lutheran School, established in 1837, is incorporated in the state of Indiana and operates under the blessing of the Lutheran Church-Missouri Synod, the Indiana District LCMS. It is the oldest continuously operating elementary school in the state of Indiana. It is owned, operated and supported by St. Paul's Evangelical Lutheran Church. The controlling body is the Voters Assembly of the church. Decisions about the school and its needs are made by this body and are based on the input and recommendations of the school board and the principal.
The school principal is responsible for the daily operation of St. Paul's Lutheran School and works with the congregation's elected Board of Elementary Education to administer policies of the school. The school is accredied by the National Lutheran School Association (NLSA) through The Lutheran Church - Missouri Synod (LCMS) and the Indiana District. We are a member of The Lutheran Schools Partnership in Fort Wayne, the Lutheran Schools Athletic Association in Fort Wayne, and the School Services Organization (SSO), providing network services to all member Lutheran Schools.
St. Paul's Lutheran School strives to educate each child in a Christ-centered environment for a life of service to God and man. We have continued this mission for 175 years and look forward to continuing to serve Christ for years to come! To that end, St. Paul's Lutheran Church and School seeks to make education affordable by providing financial aid, accepting Indiana Choice Scholarships (also referred to as school vouchers), gifts from Scholarship Granting Organizations (SGOs) and other financial assistance.
Where Barr and Madison Street meet in the city of Fort Wayne, Indiana, there is a spot of ground which can truly be called historic, both as far as Fort Wayne, as well as the Lutheran Church in America, are concerned. It is the property of St. Paul's Evangelical Lutheran Congregation, the second oldest Lutheran Church in Indiana and one of the oldest in the western part of our country. It has belonged to this congregation since 1839, at which time the first, single frame church was erected by the little flock of Lutherans which had been organized as a congregation two years previous
St. Paul's Lutheran School, a non-profit, 501(c)(3), independently owned and operated by St. Paul's Lutheran Church, admits students of any race, color, creed, religion, gender, national and ethnic origin, and does not discriminate in administration of its educational policies, admissions policies, financial aid, or other school-administered programs.


All firms want to deliver an exemplary and effortless customer experience as part of their offering. Depending on the sector and the channel, this can include remembering who customers are to enable personalisation, using biometrics for a secure and easy log in, and customers experiencing minimal hassle when making purchases via the ability to store card information and other details. Customers have grown to expect this.
At the same time, regulators and the public also expect firms to be more proactive in protecting their customers from fraud: using additional controls like enhanced warnings and security questions tailored to the customer's activity, the use of two-factor authentication to access and make payments via online banking, and double checking unusual or suspicious transactions with the customer – for example, through online pop-ups and text messages. Often this can add friction and slow down the customer journey, causing tensions with the customer requirement for a smooth, seamless and, above all, speedy customer journey.
And, of course, both customer experience and fraud prevention need to be balanced against privacy considerations. With the General Data Protection Regulation (GDPR) having come into force in May 2018, we are already seeing more (and bigger) pop-up notices about cookies, for example, which can interrupt the customer journey. These new cookie notices often have more granular controls rather than just giving an 'I accept' button as in the past. Consumers should welcome the added transparency and control, but the pop-ups can sometimes just be an unwelcome interruption.
We are already seeing technology develop to detect and prevent fraud through new forms of analytics and data sharing. These developments will need to give individuals the right balance of explanation and control to ensure that they don't feel intrusive, without making the customer journey any slower than it has to be – while at the same time ensuring criminals cannot reverse engineer these preventative measures and evade scrutiny. It is an interesting three-way balancing act that firms will have to manage more and more as time goes on.


This weekend we did a course on multi pitch clean climbing. The course was originally supposed to be held at the beginning of the summer, but that ended up being cancelled due to bad weather. This weekend was the first available make-up date.
After an early start from Basel we meet the rest of the group in Domodossola. From there we drive to Alpe Devero (walked through this last fall) and then walk to the CAI hut on the edge of "town". We drop the non climbing stuff and then head up (in the heat) towards the Passo della Rossa. Up up up we go, past a nice flat meadow with an old shelter under a big boulder and a possible tent spot, up up past a strangely sited climbing area, up up up until we hit the foot of the cliff leading up to Punta Esmeralda (unfortunately not really indicated on the map). After a lesson in building a stand we don the climbing gear and do a bit of practicing, reduce the stuff we want to take with us to one pack per rope, and start climbing. Though we are at times next to a bolted route we do the whole thing clean. S, our instructor, moves back and forth between the two ropes to check placements and stands and give tips. The rock is amazing, the climbing not particularly difficult, and with the coaching it ends up being not as scary as one might think (it's pretty steep and quite exposed climbing). The climbing is over sooner than it seems like it should be. We pack up the gear, make rope "backpacks" and then head down through the scree to return to the rest of the packs (after a short diversion back to the end point to retrieve greg's sunglasses, which had managed to hide during the "we aren't forgetting anything?" patrol).
Now it's down down down to a convenient and obvious huge boulder where we cache the climbing gear for the next day. Down down down we go, back to the hut. We have a bit of time to clean up and enjoy a cool beverage before it's time to eat. After the expected good meal we do a bit of planning for the next day and then head off to bed (super bonus: we have a room for five, so it's only us and things aren't that loud).
On Saturday we do breakfast at 6:00 (first ones up for sure) and are underway shortly before 7:00. The weather is perfect and the view to the sunlit Punta della Rossa (today's climbing area) is awesome.
Up up we go along the same path as the day before. After collecting the cached climbing gear we continue along the path towards the Passo della Rossa. More up up along the path (including a bit of ladder) until we come out onto a saddle above a sea of talus. Here we divert from the path and cross the talus towards the Punta della Rossa, which towers above us. We head a bit up the ridge before hitting the beginning of the climbing route along the south east spur (is that the right translation for "sporn"?). On with the gear, a bit to eat, and then we start climbing. Today instead of having both ropes underway at the same time we go one after another. Andrea and greg are lucky enough to be the first team, so we get to lead the way up the mountain. Today the route is not bolted, but the stands are all pre-built. So we have to place protection while climbing but don't have to build the stands. The climbing is generally not particularly difficult (a bit trickier and certainly more exposed than Punta Esmeralda), the biggest challenge would be finding the route without the bolts there to lead the way. Fortunately S is there to keep us on track.
After about five and a half hours of climbing (11 pitches) we reach the top of the route with very tired heads. The view is, as it has been the whole way up, very very nice. We rest for a bit and eat something while waiting for the second rope to finish and join us. After we've all had a short break we continue on foot to the peak, from which we have a truly spectacular view over the Berner Oberland and the Italian mountains around us.
After soaking in the remarkable view for a bit we head back to our gear and pack up for the long abseil down. This goes down a route on the south face and we use a technique that we haven't seen before: three of us go down a pitch on a single rope while the last two follow on the usual double rope. When they reach the stand above us, they untie and throw down the single rope and things continue from there. After five or six repetitions of this we are at the bottom of the face, pretty close to where we started in the morning. After everyone's together we pack everything up and start the long walk back down to the hut. The first piece of this is the route we came up but instead of continuing back across the talus we take a more direct path back down to the valley floor. After reaching the main trail back to Alpe Devero we stop for a quick water (yay! fresh cold spring water!) and snack break before doing the last half hour of descent. We are back late (shortly after 8), but fortunately not too late to get a good meal before heading off to bed.
Since we aren't sure what's going to happen with the weather on Sunday and since no one is super enthusiastic about walking back up the same hill again, we opt to head for a crag near the dam above Crampiolo that has a pretty good number of routes. The path there takes us past the lovely witches lake (Lago delle Streghe) and then through the end of town before heading up to the dam. We turn off to the left, climb a bit more, and then we're at the crag. No one else is there, so after scouting for a reasonable area to practice placing protection (nothing really to be found), we start with a couple of the easier routes at the end. These are more difficult than their grades indicate and aren't particularly entertaining after the great climbing of the last couple days. Plus loads of other people show up. We end up opting to skip the climbing and do a few more lessons (tying off a belay to block it, an alternate strategy for organizing the rope at a stand, lowering the person climbing up to you, swapping belay gear for a quick stand-turn-around) before heading back to Alpe Devero. Once there we eat a bit and then head to a big boulder that's not too far away that has a few routes on it, including a few with good cracks for placing protection. Here we do some more practice, including "jump and see if that friend holds" practice as well as a short bit of down-climbing, before heading back to the hut, packing up our stuff, and leaving.
The drive back to Domodossola is painless, the trip home less so (lots of delays and train chaos), but we do manage to find a good Kebap in Brig and eventually make it back home.


text:
Q: GRUB does not load OS, displays grub> prompt I have booted my server, getting some GRUB error and I pasted the error below.
Error Code:-
GNU GRUB version 0.97(502k Lower/496556K upper memory)
[Minimal BASH-like line editing is supported.
For the first word, TAB lists possible command completions. Anywhere else TAB lists the possible completions of a device/filename]
grub>

Note : -
I have tried to recover the GRUB by following this step.

*

*GRUB is reinstalled on the master boot record:

*Boot the system from an installation boot medium.

*Type linux rescue at the installation boot prompt to enter the rescue environment.

*Type chroot /mnt/sysimage to mount the root partition.

*Type /sbin/grub-install /dev/hda to reinstall the GRUB boot loader, where /dev/hda is the boot partition.

*Reboot the system.
Again I am getting same error. How can I get the system to boot again?

A: Your picture shows a GRUB install, which is apparently working correctly. However it has no menu configured, so you are left with just a command line.
Installing a suitable configuration is simplest to do from the operating system, that you will be booting with the GRUB install. This means you have to type in the commands manually the first time. This is quite doable, since GRUB has usable completion.
Usually you just need to type three commands at the GRUB prompt:
linux /path/to/kernel/image root=/path/to/root/device ro
initrd /path/to/initrd/image
boot

The images are likely to reside in (hd0,0)/boot or (hd0,0)/, but check (hd0,1)/ as well. The kernel image usually has a name starting with vmlinuz and the initrd starting with initrd, completion is your friend here.

A: This page has additional steps on how to configure from grub> prompt
https://www.linux.com/tutorials/how-rescue-non-booting-grub-2-linux/


An estimated 2,500 Jews in the Capital Region have begun celebrating the eight-day Festival of Lights, better known as Hanukkah.
Dec. 20, 2011 10:00 a.m.
The celebration recognizes the Jews' victory over their oppressors in 167 BC, which allowed the Jewish faith to continue to prosper.
"It's the celebration of being able to believe what you want, and being free to do so," said Jonathan Secter, a board member with the Jewish Federation of Greater Victoria and Vancouver Island.
Secter and his wife Nancy will celebrate the way many of the Jewish faith will, by lighting the traditional menorah candelabra, eating traditional foods – like potato pancakes – and giving gifts to their young grandchildren over the course of the eight days.
Hanukkah runs from sundown on Dec. 20 until Wednesday, Dec. 28.
The deli at the Jewish Community Centre of Victoria (3636 Shelbourne St.) is open 11:30 a.m. to 1:30 p.m. Tuesday through Friday, and serves up delicious, homemade food.


text:
Home / Shirley Scott
Shirley Scott
An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals.
Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and...
Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist -- in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade.
At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia.
Alex Henderson -All Music Guide
Shirley Scott Albums
For Members Only (Vinyl)
Albums featuring Shirley Scott
Person to Person (Vinyl)
Mildred Anderson
DOL 1004
Let It Go (Vinyl)
AS-9115
Al Smith & Mildred Anderson With Eddie 'Lockjaw' Davis (2 LP on 1 CD)
Al Smith / Mildred Anderson
FSRCD 668
9,95 € Buy
Count Basie Presents The Tenor of Eddie
Eddie Lockjaw Davis
The Jazz Giants Play Horace Silver: Opus de Funk
PRCD-24192


text:
Monica Raymund Workout Routine
Monica Raymund first appeared in an episode of the TV series Law & Order: Special Victims Unit. Following this, she landed her first starring role on television — playing Maria "Ria" Torres in the Fox series Lie to Me. After her stint on the show ended, she guest-starred in Dana Lodge and played a recurring character, Dana Lodge, in CBS' The Good Wife. She then made her film debut in 2012's Arbitrage.
Raymund had her breakthrough after getting the part of Gabriela Dawson in NBC's Chicago Fire, which she starred in from 2012 to 2019. She had also reprised her role in the spin-offs Chicago P.D. and Chicago Med. During this period, the actress had performances in the low-budget films Brahmin Bulls and Happy Baby. Raymund currently plays the lead role in the Starz series Hightown as the character Jackie Quinones.
Playing a firefighter in Chicago Fire, the actress reveals that the level of physicality that the role requires from her motivates her to keep her body strong and fit. Doing stunts apparently goes beyond acting. During her stint there, she had regularly trained in order to do physically challenging scenes right. "You don't go to acting school to learn how to do a stunt," said the actress. "You prepare for something like that."
To relax, the actress relies on hot yoga for some reinvigorating. "I go to hot yoga almost every day. It's really important for me to recharge mentally. I need an hour of my time every day that's about my meditation, my strength, my body and my mind," she shared.
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We raise awareness and educate the community about our pollinators one hive at a time.
Honeybees and their keepers face an overwhelming amount of challenges in todays environment. We aim to protect and grow honeybee populations while educating the community on the value of keeping honeybees using sustainable practices, but we cannot achieve our goals alone. Find out how you can help.
Our "Host-A-Hive" program offers a way for YOU to make a positive impact on the local honeybee population. By hosting a hive you support our work in bringing the magic of beekeeping right to your very backyard!
Ready to take the next step? We are now accepting applications for our 2019 installations and your backyard could be one of them. Click below to learn more!