When the waiter opened the door for me, the first thing that was on my mind was, "Whoa, this place is really big!" If you saw the place from outside, you would think that it was a home restaurant that could only contain less than a hundred people. But no, I guessed it all wrong. This place could even accommodate more than 200 people on board!
For such place with big capacity like this, Holycow! Steakhouse by chef Afit is quite perceptive by providing two restrooms; one in the indoor area and the other one at the outdoor area, complete with the sink and the mirror. Another facility that is no less important which they also provide was a Musholla. Now what else do you need?
According to its name, which is Steakhouse, obviously Steak is the main menu in this place. The price for one portion of steak is starting from Rp. 86.500,- to Rp. 560.000,- depends on what kind of meat that you choose to eat. Those listed price are not only for the meat, but also included the selection of sauce, potato, vegetable, and also boiled corn as the side dishes. For the drink, you can choose ice tea as you can get free refill for as many as you want, pretty economical, hahaha.. For the tax, you'll be charge with 2,5% of service tax and 10% for government tax. Quite low for such a great service system. Usually the other restaurants would charge you for 5%.
Well this was the one I ate.. How was the taste? Hmm.. The ripeness level that I was asking for was : medium well, the meat that came to me was : a well cooked meat with a slight redness inside, it was tender and easy to cut, and the taste was SO DELICIOUS! It was almost perfect. The mushroom sauce is a total recommend! The french fries were tubby and long and soft, just yummy, as well as the vegetables, it was all fresh and nice. I definitely give it a five stars.. Too bad it was quite thin, when I compared mine to my friend's, she ordered the same dish but her steak was so thick..
Kebetulan, ayahku beberapa hari lagi ulang tahun. Apa benar ya, bisa mendapatkan free prime sirloin? :D jadi holycow ini lebih positif daripada yang di Graha family?
ce.. mana versi bhs indonya? *celingak celinguk* o_o why I can't find it?
kan dapat free prime sirloin tuh.... boleh gak ya ??
Kasian banget si ultah makan sendirian LOL..
Ya harusnya sih bisa, asal tunjukkin KTP aja.. hahaha..
tapi FYi, denger2 Sirloin'nya alot..
sis.. klo holycow yang di pregolan sudah ada sertifikat halal??
denger2 daging steaknya itu disiram ama wine/arak gitu... bener ga sis??
sist ijin copas bolehkah ??


Bebon have Din Stainless Steel Plate Price in stock and we also can provide Din Stainless Steel Plate Price machining service . So if you need Din Stainless Steel Plate Price price , Please Contact Us.
Clad Steel Plate is a Composite Steel Plate, with carbon steel as base material and stainless steel, Titanium or Inconel Alloy as cladding material. The two layers of steel plates are usually bonded by explosion or hot-rolling.
Stainless steel / Steel composite Plate is based on the carbon steel, single side or double sides covered overall by 2-20mm stainless steel, an energy efficient composite material of two kinds of metals.
offers 174,367 din steel plate products. About 55% of these are steel sheets, 32% are stainless steel sheets, and 1% are roof tiles. A wide variety of din steel plate options are available to you, such as din, jis, and astm.
Stainless steel is a popular metal for appliances these days. Many kitchen appliances, both large and small, are made with stainless steel. Pots and pans and eating utensils are also made with stainless. steel. One advantage of stainless steel is that is very resistant to rusting. But it can get rust stains from transference of rusty objects.
About product and suppliers offers 77,321 din standard steel plate products. About 51% of these are steel sheets, 34% are stainless steel sheets, and 1% are roof tiles.
Alloy steel plate DIN 17100 steel plate price. ... 1.2316 steel plate mould steel plate 718 mold steel din1.2714 310s din 1.4845 din plate flanges din1.7225 plate 1.4125 stainless steel plate din2617 marin hot roll steel Download Available on the App Store Available on Android.
Buy Innobaby Din Din Smart Stainless Divided Platter with Sectional Lid, Stainless Steel Divided Plate for Babies, Toddlers and Kids, BPA free plate on FREE SHIPPING on qualified orders ... Total price $42.97. Add all three to Cart Add all three to List. Buy the selected items together.
price for stainless steel plate,high quality stainless steel plate. 2. Standard. ASTM A240, ASTM A480, GB/T3280-2007,JIS G4304-2005,etc. 3. ... China stainless steel italy China din stainless steel t China brass stainless steel. Tianjin Yinyin International Trade Co., Ltd. 5 YRS CN. Trading Company.


This Alfa Romeo Le Mans Art Deco poster features the 1931 8C 2300, considered by many to be one of the greatest cars in motor racing history. It was designed by Vittorio Jano who had recently been poached from Fiat by the legendary Alfa boss Enzo Ferrari. This beautiful new Alfa Romeo, powered by an 8 cylinder 2.3-litre engine, replaced the 6C 1750 and soon came to dominate endurance racing taking first place at Le Mans every year from 1931 to 1934.


Finding its source in Alwen Reser-voir this river flows south-east through Llanfihangel to join the left bank of the Dee above Corwen. The river offers trout and some salmon with hotels the best chances for visitors.
After rising near Llandegla, the Alyn flows north to Mold and then swings round to the south-easterly course which takes it through Caergwrle to join the Dee near Farndon. It is largely association controlled with season membership a necessity to obtain fishing. Associations: Caergwrle AC; Llay Hall AA; Bradley FC; Rossett & Gresford AA; Griffin AC.
Finding its source in Cwm Prysor Lake , this river almost immediately enters Llyn Celwyn before flowing on to join the Dee just below its outfall from Bala Lake. Few opportunities for visitors.
Several streams combine to form this brook right on the national boundary and only a few miles west of Malpas. Coarse fishing predominates.
Note: Not every Dee tributary is mentioned above. Those excepted are either too small to be of account or private.


text:
Tag: surrealism
Suggested Research – Gerhard Richter
Looking at Gerhard Richter's painted photographs, as they were suggested to me after I considered using collage/mixed media for assignment two, there has been some debate as to whether Richter should be noted as a 'painter' or an 'artist'.
Once these limitations on medium specificity have been lifted and we are free to discuss each medium within the context of Art, we can begin to look at Gerhard Richter's 'Over-painted Photographs' not as paintings or photographs but objects that address much larger ideas than that of themselves.
His approach to painting and his over-painted images can be said to achieve the same result, in making his audience look closely at the object, trying to discern what he is depicting and leaving it to their imaginations and personal interpretations. When asked 'Why do most of your paintings look like blurry photographs?' his response was:
I've never found anything to be lacking in a blurry canvas. Quite the contrary: you can see many more things in it than in a sharply focused image. A landscape painted with exactness forces you to see a determined number of clearly differentiated trees, while in a blurry canvas you can perceive as many trees as you want. The painting is more open.
Interview with Irmeline Lebeer, 1973
With his "Over-painted Photographs", Richter takes ordinary commercially printed photographs, from his family album and these he smears with the oil paint left over at the end of the day, which is then pressed or scraped or lifted to give various textural effects. These photographs are just legible behind the paint. You can just about see the scene depicted and have to peer through the thick layer of paint to work out the meaning or content of the photograph.
I'm not quite sure I agree with one review…
The great sweeps of thick, dripping paint comment…in a different, artistic voice which imposes itself on the steady photographic one we thought we could plainly hear. It's like watching Richter acknowledge the modern domination of the photograph and yet also his own refusal to give in to it. The photographic elements give something to the paint which gives something in return. The sum of both is far larger than the contribution of either alone. Lovely things, as exciting as anything you are likely to see. No artist has more to say on the photograph and how well we know it.
But I do agree that:
never have we looked so closely at a photograph than when it is someone else's and covered in paint.
I was thinking of using this technique although it may be tricky; I'm not really an artist so it may all end up in a huge mess and I might move on to something else. The other problem I may encounter is covering up elements within the photograph that hint at the meaning I am trying to convey.
http://jmcolberg.com/weblog/2011/10/a_letter_from_london_gerhard_richter_and_his_overpainted_photographs/
https://www.gerhard-richter.com/en/art/overpainted-photographs
http://5b4.blogspot.co.uk/2009/02/gerhard-richter-overpainted-photographs.html
https://www.ft.com/content/92a63810-35dc-11de-a997-00144feabdc0
Suggested Research – Gregory Crewdson
On January 3, 2017 January 9, 2017 By JanIn ASSIGNMENT 2, Research & ReflectionLeave a comment
Gregory Crewdson was born in 1962 in Brooklyn, his career has spanned three decades with his work exhibited widely in the United States and Europe and included in many public collections such as The Museum of Modern Art, The Metropolitan Museum of Art, The Whitney Museum of American Art, The Brooklyn Museum, The Los Angeles County Museum and The San Francisco Museum of Modern Art.
His most well-known bodies of work are probably Natural Wonder, Twilight, Dream House (a 2002 commission by The New York Times Magazine), Beneath the Roses, and Sanctuary.
Beneath the Roses, a series of pictures that took nearly ten years to complete—with a crew of over one hundred cumulatively—was the subject of the 2012 feature documentary Gregory Crewdson: Brief Encounters, by Ben Shapiro.
Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic featuring often disturbing, surreal events that usually take place at twilight. In creating what he calls 'frozen moments', he has developed a process akin to the making of a feature film. Operating on an epic scale, he uses a large crew to shoot and then develop the images during post-production.They are elaborately staged and lit using crews familiar with motion picture production using motion picture film equipment and techniques.
He created a body of work titled Twilight 'where every detail was meticulously planned and staged, in particular the lighting. In some instances, extra lighting and special effects such as artificial rain or dry ice are used to enhance a natural moment of twilight. In others, the effect of twilight is entirely artificially created.'
Crewdson has cited the films Vertigo, The Night of the Hunter, Close Encounters of the Third Kind, Blue Velvet, and Safe as having influenced his style, as well as the painter Edward Hopper and photographer Diane Arbus.
He gave an insightful interview to The American Reader about his techniques as a 'director' and how little he tries to interact with his 'subjects', how he constructs his scenes, one was a scene from psycho…
AR. …we learn that the bathroom is a reconstruction of the bathroom in Psycho. Do you want viewers to recognize these symbols and be subconsciously affected?
GC: Right. Well, in that particular case, for me that was the starting point. I started thinking of motel rooms, and I thought of that motel room in Psycho. But that was just a starting point, and through the process of making the picture, the picture changed.
I think subconsciously we all have a connection to that imagery and a certain kind of dread.
AR: Do photographs naturally inspire or have more potential to inspire dread? It's so interesting that you used that word because I've felt that in front of photographs before and I've just never put my finger on it. Is there just something about a still image?
GC: That's an interesting proposition. I do think that dread is about a certain kind of expectation. And the fact that a picture can never resolve itself the way a movie can—maybe that's a specific kind of dread that becomes associated with a picture.
I also found this observation very telling
AR: Towards the end of the documentary you talk about the inevitable disappointment of this imperfect translation of the image in your mind into what it becomes. Are you always disappointed?
GC: Yes. I think that's the nature of representation. No matter what it will disappoint, it will fail in some way.
But that's also part of the magic of art. If every picture met my expectation in exactly the right way, there'd be no mystery; there'd be no gap between what's in my head and the picture I make. So it's necessary. But it sure disappoints you. It's also what propels you to make the next one.
Continue reading "Suggested Research – Gregory Crewdson" →
Suggested Research – Arthur Fellig Aka Weegee
Born Ascher/Usher Fellig on June 12, 1899 in the town of Lemburg (now in Ukraine) his family immigrated to the United States, where his first name was changed to the more American-sounding Arthur. Arthur Fellig has the wonderful nick-name of Weegee…as the story goes this came about during his early career as a freelance press photographer in New York City. Quite frequently his nose for trouble/crime often led him to a scene well ahead of the police.
In reality he tuned his radio to the police frequency, but friends and colleagues linked him to the Ouija board. Spelling it phonetically, Fellig took Weegee as his professional name. One of the original freelance paparazzi or 'ambulance chasers,' being first on the scene allowed him to take the first and most sensational photographs of news events and offer them for sale to publications such as the Herald-Tribune, Daily News, Post, the Sun, and PM Weekly.
He was flamboyant and arrogant stamping 'Credit Photo by Weegee the Famous' on the back of his images. Gradually his images seeped into other areas, New York's Photo League held an exhibition of his work in 1941, and the Museum of Modern Art began collecting his work, much which depicted 'unflinchingly realistic scenes of urban life, crime, injury and death', and exhibited it in 1943. Weegee published his photographs in several books, including Naked City (1945), Weegee's People (1946), and Naked Hollywood (1953).
Weegee also worked in Hollywood as a filmmaker, performer, and technical consultant. His 1945 book Naked City was the inspiration for the 1947 film The Naked City. The Public Eye (1992), starring Joe Pesci, was based on the man himself.
Why he is important is because he invented himself. He started out in commercial photography, then forged his own career as a press photographer, worked in Hollywood on Dr Stangelove with Stanley Kubrik. Although mostly known for his crime scene images he also shot fun street images.
Weegee's photographic oeuvre is unusual in that it was successful in the popular media and respected by the fine-art community during his lifetime. His photographs' ability to navigate between these two realms comes from the strong emotional connection forged between the viewer and the characters in his photographs, as well as from Weegee's skill at choosing the most telling and significant moments of the events he photographed.
He used very basic press photographer equipment and methods of the era, a 4×5 Speed Graphic camera preset at f/16 at 1/200 of a second, with flashbulbs and a set focus distance of ten feet. He would hang around police stations looking for tips from the police, and Bowery nightclubs…synonymous now with Martha Rosler.
Continue reading "Suggested Research – Arthur Fellig Aka Weegee" →
Psychogeographies – A Japanese connection
On January 2, 2017 January 9, 2017 By JanIn Coursework, Part 2 project exercises, Research & ReflectionLeave a comment
Ohh some new names and an old one...Anders Petersen, Jacob Aue Sobol and Daido 'Stray Dog' Moriyama.
The former apparently, have been influenced by the latter, to produce photographs in a continuous stream of consciousness (usually translated as B/S :oX) that is before I go look, so I won't pre-judge… Moriyama is cited as being a co-founder of the magazine Provoke… what they don't tell you is he joined for the second issue and it only lasted for three…lies, damn lies n statistics…
So, linked by are, bure, and bokeh…or translated as rough, blurred and out of focus, these three photographers operate at the 'limit of expression and coherence.'
Moriyama I know through having visited the Klein/Moriyama exhibition in 2013…it will be intriguing to see if my opinion has changed and what work the other two photographers have been producing…
Read Miranda Gavin's review of Anders Petersen's French Kiss and Jacob Aue Sobol's I,Tokyo for Hotshoe Magazine.
Read 'Bye, Bye Photography' (AG Magazine#38) and research the work of Daido Moriyama.
Write a short reflective commentary about the connections between the three photographers styles.
Start thinking about the critical review… nooooooo brain is still on finishing this and assignment two…
Anders Petersen – French Kiss
As per usual a bit of research into the work before you read the review is always handy.
Continue reading "Psychogeographies – A Japanese connection" →
Psychogeographies – Street Photography
On January 2, 2017 August 30, 2017 By JanIn Coursework, Part 2 project exercises, Part 2 The B&W Document, Research & ReflectionLeave a comment
Oh….<coughs> LOLOLOLOL okay……so… new word scopophilia… coursework tells me that it links nicely with being a flâneur….hmmmm I think we need to sort out our stories before we get arrested…sorry officer I was just being a bit of a flâneur…you know…a man who saunters around observing society… rather than, oh what? Nah, don't worry I was just indulging my innate scopophilia… you know…sexual pleasure derived chiefly from watching others when they are naked or engaged in sexual activity; voyeurism…. oh no damn I didn't quite mean that…but oooops yeah that seems to be the closer of the definitions even Freud thinks so….
According to my little red folder Kertész's scopophilia – the 'pleasure that derives from looking' (if you say so OCA ;oD if you say so) led to him working on a project about people reading …I'd say it inspired more his series on Distortion ;o)
But I am open-minded and will go with the flow…
These images are beautiful to me…I love the gentle peacefulness about them, the wonderfully surreal, and in general, because they are about reading and I so love to read…books….mmmmmm Waterstones….may be I just have a paraphilia for books.
Although I don't consider myself to be a street photographer I do love people watching, sitting at rest and watching the little dramas unfold is great. I find I feel self-conscious, as most admit to, when focusing my camera on others, I don't get in close enough, though I do experiment from time to time.
Read the article 'What is Street Photography?' on the London Festival of Photography website…
Damn… yet another dead link..the London Festival of Photography website is no longer there…so inside I'll drop into one of my favourite blogs for insights and links to the last posting.
Could be it was replaced by this which was useful as it gave some really good examples of the kind of things people are currently photographing, and the same here.
Delved a bit into iN-PUBLIC and Seconds2Real which give you a flavour as to what is out there.
Now visit http://streetphotographynowproject.wordpress.com/
After reading the articles that I couldn't find, but improvised I then am set a task to follow one of the weekly instructions on Street Photography Now project 2011 and uploading a selection to my blog…that will have to wait until I get out to take some next weekend so watch this space…
I eventually got round to looking at the website in depth and chose the instruction:
#26 If you're not sure its a picture shoot it anyway – Carolyn Drake
So I am combining some of these images with another exercise to do with surreal images…I had to build a small portfolio for each but then choose a selection of five for my blog. The portfolio is supposed to be in B&W but rather than convert them all I am just going to convert the 5 I have chosen.
Here is the small portfolio…
Assignment Two Single Image Narrative
The five final images that fit the criteria #26 If you're not sure its a picture shoot it anyway – Carolyn Drake, applies not only to me as the photographer but also the subjects within the shots themselves.
After taking shots over a few months I whittled them down to these few which include selfies, a professional wedding photographer and people taking snapshots:
My final choices were:
Research Point –Vivian Maier 1926 – 2009
Vivian Maier, like Atget, was only discovered very late on in life. However, unlike Atget she did not ever use photography to make a living, it was a hobby she indulged in whilst working as a Nanny. She has now come under the umbrella of being a 'street photographer', reputedly taking more than 150,000 photographs during her lifetime, primarily of the people and architecture of New York City, Chicago, and Los Angeles.
During her lifetime, Maier's work was unknown and unpublished, and she never even printed many of her negatives.
Maier left behind more than 100,000 images, in hundreds of boxes of negatives and undeveloped rolls of film, as well as some Super 8 home movie footage, audio tapes and trunks full of memorabilia. Some of this was auctioned when Maier, who had fallen on hard times, could no longer keep up payments on a storage locker. One of the buyers was an estate agent and flea-market enthusiast called John Maloof. When he began to print the black-and-white street portraits that were her specialty, he was captivated. Vivian Maier's life and photography became his passion and, eventually, his living.
Out of all the research what intrigued me most was Ted Forbes take on it all…had this box of negatives fallen to another photographer like Abbott, or a curator like Szarkowski would his opinion be different? Atget and Maier run parallel in so many ways. Both suffering from being curated after their demise and with no input as to how they should be shown. Are they both just 'good' photographers who others are trying to hype? Is one so much better than the other or did they just get the right/wrong PR team?
I like some of both, other I think …'meh'…but that works with most artists/photographers/writers, some work is stronger than others. Here is a small selection of her work
Audrey Hepburn at the Chicago premiere of "My Fair Lady" at the RKO Palace Theater. October 23, 1964
1950s, Canada
November 1953, New York, NY
1954, New York, NY
July 27, 1954, New York, NY
1963. Chicago, IL
From her work I need to select 5 images that show the influence of surrealist elements.
This photograph has the elements of reflections in the puddles and reversed writing providing an unreal atmosphere to the image.
Shadows and cropping are both elements of surrealism, cutting large portions of an image from the frame. The small child is framed by 2 unknown 'giants', both at either sides and behind in the 'shadow world.'
Unusual activity is also part of the surrealist movement. Why is someone doing a headstand in the street? The positioning of the advert provides an audience, whilst the young lady sporting only one shoe seems preoccupied by a hole in the one she has in her hand. Their clothes seem totally mis-matched as well.
Blur, and dream-like images feature heavily within surrealism. This portrait of Audrey Hepburn is out of focus whilst her companion is lost to motion blur. Was this intentional? A signifier for the unobtainable dream or an accident? We shall never know.
Juxtaposition, reflection…I just love this shot :o) shoes…cars…peaches… what more could you possibly want in a surreal photograph…I guess Kertész might have liked a distorted nude somewhere but we can't always have want we want ;oP
Truth be told I think quite a lot of 'good' street photography, and even the not so good, does carry an element of the surreal, but life is surreal…nothing is straight forward, we only see snippets of life and most of that is just plain absurd when you examine it closely. A lot of Maier's work does have elements of the surreal and most of that looks as if it was intentionally captured that way.
As far as her contribution to photography is concerned? I think that if she had published at the time she was an 'active' photographer she may have been more recognised…or perhaps not, knowing the issues of women in photography at the time, and the supposed fragility of her mental state. On looking at her images the majority of them, to me anyway, do stand comparison to those who came before, were contemporaries of hers, or have followed.
Contemporary Street Photography
I was fortunate enough to go along to the London Street Photography exhibition at the Museum of London in 2011 which even made the BBC News.
Curator Mike Seaborne reminded us that street photography wasn't new and what we snap today will continue to provide a visual record of social and environmental change.
However, street photography in London is far from new. The first 'instantaneous' street scenes – those where traffic and people are captured in mid-motion – were taken in the early 1860s and by the 1890s candid street photographers with hand-held, and sometimes hidden, cameras were snapping Londoners unawares. The 20th century saw many famous and lesser-known photographers document life on the street for a variety of reasons. Their collective body of work provides us with a unique visual record of social and environmental change.
This was an interesting review by a non-photographer.
iN-PUBLIC had several photographers involved whose names are more recognised now.
I thoroughly enjoyed the exhibition and the companion book is a wealth of information with regards to historical and more contemporary practitioners. This is useful for me as I am considering some form of street photography for assignment two.
http://uk.complex.com/style/2012/06/the-50-greatest-street-photographers-right-now/
http://www.widewalls.ch/10-prominent-street-photographers/
http://www.streethunters.net/blog/2015/04/08/20-most-influential-street-photographers-2015/
http://nickturpin.com/category/street-photography/
https://www.lensculture.com/articles/jim-casper-21st-century-street-photography-250-new-examples
I like Eric Kim, Nick Turpin and Matt Stuart, Joel Meyerowitz is a hero of mine, but he tends not to do so much 'street' now…and no doubt after fully researching this list I will add more….
http://www.vivianmaier.com/
https://www.theguardian.com/lifeandstyle/2014/jul/19/our-nanny-vivian-maier-photographer
Psychogeographies – B&W and surrealism -Canon Fodder
On January 1, 2017 January 3, 2017 By JanIn Coursework, Part 2 project exercises, Part 2 The B&W Document, Research & ReflectionLeave a comment
Brief notes:
Guy Debord – founder of the Situationist movement…
Psychogeography – a multisensory perception of the environment concerned with:
unpicking the manner in which the contemporary world warps the relationship between psyche and place – (Self, p.11)
Look at Graciela Itubides images of Juchitan – these 'resonate with the legacy of the surrealists of inter-war Paris.'
The coursework tells us:
The surrealists …understood [the photographic document] as a charged, enigmatic fragment that left as much unknown as it revealed, coaxing the viewer back onto their own judgement or imagination. (Barson et al, 2006, p.54)
In looking at her work you can see parallels with the work of Cartier-Bresson, Brassaï and Kertész: the cropping, shadows, odd compositions and juxtaposition of objects.
I also need to look at the work of Henri Cartier-Bresson, (whose work I saw at Somerset House) André Kertész, George Brassaï, Man Ray, Paolo Pellegrin and Tony Ray-Jones, noting the key visual and conceptual characteristics that their work has in common. It was brilliant that I had been to the recent exhibition at the Atlas Gallery and seen work of these photographers first hand.
Back in 2011 I went to an exhibition of Hungarian photography and saw many original photographs from ManRay, Brassaï and Kertész. Although at the time I did not mention their surrealist leanings I bought the book, eyewitness Hungarian Photography in the Twentieth Century, which has many examples of their work, plus others. This review did a much better job than I did of describing what was there, and another from Beetles and Huxley.
Paulo Pellegrin
ManRay
Kertesz
Brassai
Tony Ray Jones
Fortunately I work in a secondary school and support regularly within the art dept, therefore don't struggle with the concept of surrealism within art or photography and quite like the idea of the surreal supplanting 'reality' within 'straight'photography. Elliot Erwitt is one of my favourite street photographers who does the surreal so well.
Bullet pointed below is a list of some of the features regularly found within surrealist photography:
Dreamlike
Mystical/mythical
Depiction of the unseen
Alternative angles of the everyday/distortion
Reality/fantasy
Intangible/obscure/abstract
Bizarre /unsettling
Everyday objects , people, and places shot in an unusual way
Use of lines /curves /shadow/light
Conceptual ideas
Choice of camera angle /lens/ light / framing/altered perspective
Post-processing/ darkroom techniques / digital manipulation / cropping
Double exposure / collage /photomontage/ etc
Unusual subject matter
All of the above photographic examples include several of these techniques. I can see why this is included within the coursework as it shows the crossover between documentary and surrealism, and the use of abstract/conceptual ideas which can be used within assignment two. Atget is mentioned in quite a few academic papers/essays as being the 'father of modernism' or using 'surrealism' to name but a few of his labels, so it is always good to research as to why and how this occurred.
Eugene Atget 1857 – 1927
Not that much really seems to be known about Atget, despite him amassing an archive of over 8,000 negatives which compiled 'a visual compendium of the architecture, landscape, and artifacts that distinguish French culture and its history.'
Atget called his images 'documents' but is nowadays recognised more as a 'forerunner of Surrealism' as his urban scenes feature 'snatched glimpses, tangential perspectives, odd reflections and bizarre details.'
Read Canon Fodder: Authoring Eugene Atget by Abigail Solomon-Godeau.
Canon Fodder: Authoring Eugene Atget
At first I dreaded analyzing what appeared to be an overly long essay, full of overly long and academic language. However, I actually found it quite enlightening and in places amusing… I mean who doesn't like poking fun at the establishment? Even though some of the language was tricky the overlying message was clear. I think it helped to read the brilliant americansuburbx article first, which set the scene.
The title itself gives you an inkling as to the content of the essay; the play on cannon fodder/canon fodder implies that Atget had no choice in the role he has been made to play within the battle of academia, and the designations being set out within the 'art of photography'. He was sent out to fight the battles whilst the generals/curators and philosophers stood at the back and watched the raging debates: Atget held up as a standard, a model, a rule…
This is quite amusing as Atget didn't even want recognition, nor to be described as a photographer:
In 1926, Man Ray reproduced an Atget photograph a group of pedestrians shading their eyes as they looked at the sky, watching an eclipse on the cover of a Surrealist magazine. When he told Atget of his intention, the older man replied, "Don't put my name on it. These are simply documents I make."
Atget was conferred the title of 'author'…but of what? With a vast back catalogue of 10,000 images he could be called a jack-of-all-trades-master-of-none; allow 'the Atgetian deck to be shuffled', sort them into 'suits' and you can make him fit any genre you like: primitive, documentary, modernist, unadorned-realist, surrealist, Marxist… it would appear that many philosophers, writers, photographers and curators have tried to claim him for their own.
The premise of Solomon-Godeau's essay is that Atget is an invention of modern critical theory, the desire to have a pigeon-hole for everyone and a need, specifically, for a canon for the 'art of photography' and, like Meadows when the stars aligned for his project, the stars aligned for Atget to fall neatly into the firing line.
Solomon-Godeau pokes fun at Bernice Abbott, John Szarkowski and Margaret (Molly) Nesbit with regards to their deification of a man hard to classify, and the slavish way they hold him up to be the 'father of photography', whilst contradicting themselves within their own essays about him – effectively turning to wishy-washy waffle to describe his work when all else failed, or 'swooning aestheticism' as she puts it.
Abbott had her own agenda, after all she had previously owned the collection of Atget's work; Szarkowski had a vested interest because MoMA bought the collection from her; as curator he had to make good on his investment. Solomon-Godeau writes:
Szarkowski, more than any other photography curator, has articulated a clearly defined position from within a particularly powerful institution of aesthetic validation.
This ties in closely with the previous exercise on Avedon and the positions of power held by institutions to further their own agendas. Apparently, Martha Rosler 'dubbed MoMA "the Kremlin of Modernism".' Szarkowski shuffled the deck and imposed 'thematic organizing' onto the museums exhibitions and subsequent volumes.
Relieved to discover that she was not the only person questioning the deification of Atget, Solomon-Godeau cites Rosalind Krauss as another Doubting Thomas. In her essay Photography's Discursive Spaces (Bolton,1992, p.294) Krauss also questions the interpretation of 'this apparent incoherence'.
So who would you rather go with? Szarkowski who holds Atget up to be 'an exemplary pedagogical lesson' or Krauss who describes him like 'the blind man's elephant'?
4127, amer (2011) Back to the past – Eugene Atget (2001) | #ASX. Available at: http://www.americansuburbx.com/2011/07/eugene-atget-back-to-past-eugene-atget.html (Accessed: 1 January 2017).
Bolton, R. (ed.) (1992) The contest of meaning: Critical histories of photography. Cambridge, MA: MIT Press.
Eugène Atget (2016) Available at: https://www.moma.org/artists/229 (Accessed: 1 January 2017).
Here, S. (2013) Start here. Available at: http://erickimphotography.com/blog/2013/09/30/6-lessons-eugene-atget-has-taught-me-about-street-photography/ (Accessed: 1 January 2017).
Iturbide, G. (2017) Juchitan – amber. Available at: http://www.amber-online.com/collection/juchitan/ (Accessed: 1 January 2017).
Self, W. (2013) Guy Debord's the society of the spectacle. Available at: https://www.theguardian.com/books/2013/nov/14/guy-debord-society-spectacle-will-self (Accessed: 1 January 2017).
Solomon-Godeau, A. (1991) 'Canon Fodder' in Photography at the Dock. Minnesota: University of Minnesota Press.
Victoria, Museum, A., Museum, O. and Team, W. (2013) Eugène Atget – Victoria and Albert Museum. Available at: http://www.vam.ac.uk/content/articles/e/eugene-atget/ (Accessed: 1 January 2017).
Wells, L. (2009) Photography: a Critical Introduction (4th ed). Abingdon: Routledge.
Own Research 6 – The Psychic Lens – December 2016 The Atlas Gallery
On December 17, 2016 December 22, 2016 By JanIn Exhibitions & Books, Research & Reflection1 Comment
Last weekend I wandered along to a new exhibition at Atlas Gallery exploring how photographers responded to Surrealism over the course of over 50 years: The Psychic Lens: Surrealism and the camera. It included vintage photographs by Man Ray, Andre Kertesz, Florence Henri and Bill Brandt alongside works by artists I had never even heard of, such as Vaclav Zykmund, Franz Roh, Raoul Hausmann and Japanese artist, Toshiko Okanoue.
Apparently there are two broad types of surrealism – 'the oneiric, dream-like imagery, as shown in the work of Florence Henri, Roger Parry, Cesar Domela and later Bill Brandt and automatism,a process of making which unleashed the unconscious by creating without conscious thought, as shown in some of the works by Man Ray.'
This was the third exhibition of the day so by the time I got there I was a bit 'imaged out' but it was rather impressive to be surrounded by works of all these photographers that I had heard of and enjoyed looking at. The gallery itself split the exhibition over 2 floors with some images on the walls around the 'shop' and the rest downstairs. The walls were plain white with natural lighting and spots upstairs and spots down. Images below courtesy of Artsy
I loved the tones and textures in Man Ray's Woman with long hair…wasn't so convinced about the rare copy of Ostrich Egg with Stamp and Sandpaper…Some images don't seem to have dated at all such as Herbert List's Sunglasses Lake Lucerne Switzerland, whilst others that must have been quite eye-opening and challenging at the time, such as some of Franz Roh's collages that now look very dated. Having researched Andre Kertesz Distortion series it was great to see one of the images up close and personal and I loved the strong contrasts in Horst P Horst's Hands,Hands, which I could own for the mere sum of £18.500!
The set of images by Pablo Picasso and Andre Villers helped to develop a kernal of an idea for assignment 2, as did Toshiko Okanoue…which may or may not develop into something… cogs turning in the mind and lots of ideas floating about.
Although not strictly speaking 'documentary' it does fulfill the criteria of the B&W image and it does document the surrealist movement within photography..and heck look at the list of people you can go and see the REAL work of…I would recommend going to see this exhibition.
Gallery, A. (2017) The psychic lens – surrealism and the camera | Atlas gallery. Available at: https://www.artsy.net/show/atlas-gallery-the-psychic-lens-surrealism-and-the-camera (Accessed: 22 December 2016).
The psychic lens: Surrealism and the camera – Atlas gallery | fine Art Photography (no date) Available at: http://www.atlasgallery.com/exhibition/the-psychic-lens (Accessed: 22 December 2016).

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: React / High chart / Stacked bar label for each block I am trying to have stacked bar with different color as below.
I could achive bar as below however looking for -
1. label under each block and count.
2. On click on one of the block, color for rest of the blocks should be changed (should be same as hover behaviour)
Any suggestion and help would be appreciated.

A: You can use stacked bar chart with enabled data labels:
    plotOptions: {
        bar: {
            stacking: 'normal',
            dataLabels: {
                color: 'black',
                enabled: true,
                y: 80
            }
        }
    }

Live demo: http://jsfiddle.net/BlackLabel/wg46umjp/
API Reference: https://api.highcharts.com/highcharts/plotOptions.bar.dataLabels

redpajama_set_name: RedPajamaStackExchange


text:
Q: Bypassing SSL certificate error in jQuery and AJAX I am newbie to jQuery/AJAX. I have a small application for testing pupose that has a button on it. When the button is clicked a connection is made to a server located in the same domain to get some data and alert it.
Problem: My application can't make any connection to the server. The following screen shot is from the developer tools in google chrome.

The server has its own self signed certificate. If I connect to the server via web browser I get an SSL certificate warning as shown below.

If I click on proceed and then login to the server, after this now my application is also able to retieve the data from the server.(If I click the button on my web app it alerts the data it got from the server.)
Question: Is there any workaround for this, can I bypass this error? Why it works once I have logged in to the server via web browser? My app will be used locally in the same domain and it is not a public app.
jQuery Code: I have this code:
$('#mybutton').click(function(){
    $.ajax({
        type: "GET",
        url: "https://192.168.150.33/Api/loc?jsonpCallback=myCallback",
        dataType:"jsonp",
        async: false,
        beforeSend: function (request){
            request.withCredentials = true;
            request.setRequestHeader("Authorization", "Basic " + btoa('admin' + ":" + 'password'));
            },
        success: function(response){
                alert('hi');
            },
    });
});
function myCallback(response){
        data= JSON.stringify(response)
        alert(data)

Here is a post that addresses the same issue. As far as I understood this post according to it there is no solution. Any suggestions will be helpful. Thanks

A: I could solve this problem adding this to my ajax call:
beforeSend: function (request) {
    request.withCredentials = false;
}

Isn't a recommended practice...

A: You cannot programmatically bypass the SSL error/warning behaviour implemented by the browser, if you could it would invalidate that security layer entirely.
If you are doing this locally/in a Windows domain environment simply add the self signed cert to the trusted store.
Additionally a certificate is (typically) issued to a domain name not an IP address so you will need to do the same in your Ajax call.


text:
package org.apache.apex.malhar.lib.streamquery.index;

import java.util.Map;

import javax.validation.constraints.NotNull;

/**
 *
An implementation of an index that overrides filter method on basis on columns.

 *

 * @displayName Column Index
 * @category Stream Manipulators
 * @tags alias
 * @since 0.3.4
 */
public class ColumnIndex implements Index
{
  /**
   * Column/alias name.
   */
  protected String column = null;
  protected String alias = null;

  public ColumnIndex()
  {
  }

  public ColumnIndex(@NotNull String column, String alias)
  {
    this.setColumn(column);
    this.alias = alias;
  }

  @Override
  public void filter(@NotNull  Map<String, Object> row, @NotNull  Map<String, Object> collect)
  {
    String name = getColumn();
    if (alias != null) {
      name = alias;
    }
    collect.put(name, row.get(name));
  }

  public String getColumn()
  {
    return column;
  }

  public void setColumn(String column)
  {
    this.column = column;
  }
}

redpajama_set_name: RedPajamaGithub


Cis-2-butene is a colorless, flammable, liquefied gas with a slight aromatic odor.
Cis-2-butene is part of the alkene group of hydrocarbons. They serve as intermediates in the preparation of a variety of organic compounds.
This product is analyzed liquid phase.


text:
Rwandan Media Leaders Complete M4D Fellowship in Copenhagen
Media4Democracy and EU Delegations Explore Importance of Access to Information
World Press Freedom Day 3 May – How Disinformation Challenges Elections and Democracy
Denmark, April 2019 – Five young leaders of media institutions in Rwanda have completed an intensive fellowship programme in Copenhagen and returned home to apply their new skills as the country marks the 25th anniversary of the Rwandan genocide.
The Media4Democracy fellowship programme Strengthening Institutional Leaders in Support of Media Pluralism was undertaken in close collaboration with the EU Delegation to Rwanda. The programme aims at building the knowledge and skills of Fellows to serve as change agents to strengthen media pluralism and freedom of expression in their home country.
The Fellows spent three weeks in Copenhagen in March 2019 and were based at the Danish Union of Journalists. Media4Democracy Fellowship Coordinators, Mogens Blicher Bjerregård and Henrik Ahrens, led the group through a challenging curriculum consisting of training in leadership, project development, and management of media institutions, as well as a series of meetings with a wide range of professionals working for effective media institutions and media outlets in Denmark.
Through training and coaching, the Fellows strengthened their ability to take on the challenges of leadership within the Rwandan media sector. Mr. Ahrens, Fellowship Training Coordinator says:
"This month, Rwandans mark 25 years since a genocide that killed hundreds of thousands of people. It's still a tremendous challenge for the society to shape a collective conscience that will enable descendants of victims and perpetrators to confront this past together. The media plays a significant role in creating a discourse and giving people a voice. Supporting freedom of media through the Media4Democracy fellowship programme can, therefore, have an immediate impact on Rwandans as they deal with the past and face their future."
The Fellows will meet with the EU Delegation after their return to present their individual projects focused on strengthening the media institutions where they work:
Edmund Kagire's project focuses on strengthening access to information with the aim of boosting transparency, accountability and freedom of expression in Rwanda. A study will identify gaps in the current ATI regime and will provide recommendations for a more effective implementation and application of the existing law.
Olivier Ngabirano is developing a strong network for investigative journalism to support accountability, justice and human rights in Rwanda. The network will provide capacity building for journalists, and financially support and advise journalists in producing investigative stories.
Marie Louise Uwizeyimana's project aims at strengthening the Rwandan Media Union to improve journalists' working conditions. A series of meetings will be convened with media owners, journalists, union representatives, and government and media stakeholders to raise awareness of the importance of the Rwandan Media Union.
Gonzaga Muganwa's project will improve the advocacy capacity of the Rwanda Journalists Association to increase press freedom in Rwanda. Suggested activities include the organisation of roundtables and consultative meetings among media opinion leaders and the development of a training curriculum on a journalists' code of conduct, as well as the analysis of Rwandan media laws.
Ingabire Egidie will work to empower women in the media sector by increasing the female presence in newsrooms. The project is targeting young Rwandans at high school to generate interest in the media and journalism profession. The project will also collaborate with schools and parents to improve support for girls who wish to pursue a career within the media sector.
The programme in Copenhagen will be followed by four months of mentoring provided by the Fellowship Coordinators to support Fellows' ongoing efforts to share knowledge, experience and inspiration within their own organisations and across the media sector. Fellowship Coordinator Mogens Blicher Bjerregård says:
"On the return to daily life and challenges in Rwanda it can be difficult for Fellows to find time and local support to implement their new ideas inspired by the programme in Denmark. Thus, it is extremely important to assist the Fellows in maintaining the energy to implement their projects. This is why remote mentoring and coaching by the coordinators will take place regularly until the end of the project, when we will follow-up with a final mission to Rwanda to support the fellows and their projects in Rwanda".
The first Media4Democracy fellowship was carried out in collaboration with the EU Delegation in Tanzania in 2018. The next fellowship is planned with the EU Delegation to Kyrgyzstan and will launch with an assessment mission to Bishkek in May to review the media institution landscape and identify potential Fellows.


text:
Q: How to exclude execution duration from methods annotated with JUnit 4's Before and After annotations I am running some simple performance tests with JUnit 4 and using Jenkin's perfReport so that I can generate a performance report.
While running these tests, I noticed that the test method execution includes execution time of methods annotated with JUnit 4's @before and @after.
I came across a similar post: Exclude @Before method duration from JUnit test time, however I require my output format in a JUnit-style report since the Jenkin's perfReport parses JUnit-style format only.
As such, is there a way to exclude the execution time of these annotated methods?

A: I solved it by performing the following:

*

*Extending the BlockJUnit4Runner

*Overriding the runChild() method, as this is where test notifiers are received

*Writing a custom runLeaf() method, as this is where the test notifiers are fired to notify the test has started or stopped.

*Overriding the methodInvoker() method, as this is where the test method is invoked

*Creating a new Statement class that functionally, performs the same set of actions as a invokeMethod() statement object created in methodInvoker. This class however, receives the test notifier, thus allow you to control how and when the test is considered to have started.

One issue of the above approach is that you will need to extract code sections that help to run JUnit rules, in order to preserve rule execution as these methods are strangely private.


text:
CAST BIOGRAPHIES
NICKOLAI SALCEDO – ULRIC CROSS
Nickolai Salcedo is a Trinidadian actor, singer/ songwriter, musician and visual artist. He has been performing for many years as both an actor and frontman for the band Gyazette. He was formally introduced to acting while attending the University of the West Indies.
Since then, he has been a part of several productions, both on stage and on screen including "Pan", a feature docudrama about the development of the steelpan in the 20th century.
He has also held lead roles in theater productions, including A Midsummer Night's Dream, playing the roles of Oberon and Duke Theseus, and Eddie in Fool for Love by Samuel Shepard and the Trinidad Theater Network.
PETER WILLIAMS – JAMES "PONY" MCFARLANE
Peter Williams was born on December 31, 1957 in Kingston, Jamaica. He is an actor and writer whose selected credits include The Chronicles of Riddick (2004), Da Vinci's Inquest (two seasons), Neon Rider (all seasons) and Stargate SG-1(multiple seasons).
Peter is currently residing in Canada where the majority of his work has been in television. He has also appeared on the big screen in films such as Catwoman and The Chronicles of Riddick.
In 1995, two years prior to Stargate SG-1's premiere, Peter was nominated for a Best Actor in a Leading Role Genie Award for Soul Survivor. He co-starred that same year in Don Allan's Jungleground.
More recently, he has guest starred in the Toronto-shot series The Expanse. He is proud of his lead role as Gene Wright in Frances-Anne Solomon's acclaimed feature film A Winter Tale.
JESSICA B. HILL – NICOLA CROSS
Having recently completed two years at the Birmingham Conservatory for Classical Theatre, Jessica is presently a member of the Stratford Festival's prestigious Mary Savidge Award that recognizes an actress who has shown outstanding dedication to her craft.
JOSEPH MARCELL – C.L.R. JAMES
Joseph Marcell is a British actor, best known for his role as Geoffrey, the English butler on the NBC sitcom, The Fresh Prince of Bel-Air.
Born in Britain of Caribbean parents, he trained at RADA, has lived and worked in the US, and currently resides in London where he serves on the board of Global Theater.
He continues to work in theater and film and recently played the title role in a nationwide production of Shakespeare's King Lear. He also starred in Derek Walcott's production of Omeros in The National Theater.
PIPPA NIXON – ANN CROSS
Pippa Nixon is a British actress who trained at the Manchester School of Theater and is known for her role in John Carter (2012), Panic (2014) and 24Seven (2011).
She recently replaced Sinead Matthews as Gwendolyn Fairfax in the West End production of The Importance of Being Earnest, the final production in the year-long series of shows at the UK Vaudeville Theatre celebrating Oscar Wilde.
FRASER JAMES – GEORGE PADMORE
Fraser James was born James Stephen Fraser. He is known for his work on Resident Evil: The Final Chapter (2016), The Loch (2017) and Yardie (2018). Fraser James is an English actor, best known for his role in the television legal drama series, Judge John Deed, from 2001-2006.
ERIC KOFI ABREFA – KOFI MENSAH
Ghanaian-British actor Eric Kofi-Abrefa is one of the most exciting upcoming talents in Britain. He is known for Tight Jeans (2008), If Not Now, When? (2009), Shoot the Messenger (2006) and Stella (TV Series, 2013).
Most recently he was seen in Law & Order: UK and Fury with Brad Pitt. As a theater actor he has performed with the Royal Court and National Company in a range of leading and supporting roles.
JOHN DUMELO – PK ASANTE
John Dumelo is well recognised for his roles in over eighty (80) films. He won Joy FM's Best Ghanaian Actor in 2009 and he has been nominated for Africa's Most Promising Actor by AMMA 2010, for his role in Heart of Men. He received another nomination for Best Actor by Best of Nollywood Awards, for his role in The Maidens.
John won Africa's Most Outstanding Actor 2011 at the Afro Australian Movies and Music Awards in Australia. He also won the Best African Actor Award at the African Entertainment Awards in April 2012 in Malaysia. He recently starred in a Hollywood movie with Kimberly Ellis in Ghana.
JIMMY AKINGBOLA – KWAME NKRUMAH
Award-winning, British-Nigerian actor, Jimmy Akingbola is listed as one of the Top Ten Black British actors alongside Idris Elba, and has created a name for himself within the British acting scene, working consistently in TV, Film and Theatre. He is currently a regular on British television, appearing on top BBC series Rev and Holby City.
He has worked with many of the best theatre Directors in the UK and the most established theatres including the Royal National Theatre, RSC, Noel Coward Theatre (West End), Donmar Warehouse, and Soho Theatre.
ADJETEY ANANG – PATRICE LUMUMBA
Adjetey Anang is a Ghanaian actor best known as 'Pusher' in the TV series, Things We Do For Love.
He has featured in many Ghanaian movies including award-winning, Shirley Frimpong projects like A Sting In A Tale, Adam's Apples and the recent Potomanto. He has also featured in a Dutch movie titled Slavery.
OC UKEJE – JULIUS NYERERE
Lagos-born actor, OC Ukeje is also a singer and performer. Widely recognized as Nigeria's most promising actor, OC joined the Nigerian entertainment scene in 2006 after winning the Amstel Malta Box Office reality TV show for actors. He later trained at the New York Film Academy.
PRINCE DAVID OSEIA – MOBUTU SESE SEKO
Prince David Oseia was born as Prince David Osei. He is an actor, known for The Dead (2010), Flight by Night (2016) and Nana Means King (2015).
© 2018 HERO. All Rights Reserved | Inspired By The Extraordinary Life & Times of Mr. Ulric Cross


We are now offering the opportunity for pupils to trial InterHigh School for a half term at a cost of £600.00. Please note, there is no option to trial InterHigh in year 11 and 13 as these are formal examination years.
Pupils will be offered the full curriculum in an appropriate year group. If, at the end of the half term period in which they start, a pupil isn't suited to this type of learning, for any reason, there is no further commitment and no other fees are due. Where it is decided that a pupil wishes to continue with InterHigh they will need to sign the standard conditions of attendance.
Please note, the $800.00 fee for the Half Term Offer will be applied regardless of when your child starts within the half term period. Thus, it is preferable to enrol your child before the half term period starts. Enrolment usually takes 1-2 weeks to complete. The Half Term Offer is applied to the specific Half Term Dates as per our calendar - please click on the button below to view our term dates.
To select the half term offer upon registration, please use the promotional code Half Term Offer in the promotional offers code section on the registration form.
If you have any questions about this package please contact us.


text:
The alternative to the toll road was no road. After repeated attempts over several decades to get the state to build a road connecting Adams Avenue to I-84, Governor Leavitt finally suggested that the only way the road would ever be built would be for a private company to build it. Shortly thereafter several local business people formed a corporation and began plans to build the road.
August 29, 2000 — Ground breaking ceremony.
June 27, 2001 — Adams Avenue Parkway opened for business.
July 17, 2001 — Grand Opening Ceremony


text:
Commentaries| June 14 2014
Which Test for Diagnosing Early Human Diabetic Neuropathy?
Rayaz A. Malik
Centre for Endocrinology and Diabetes, Central Manchester University Hospitals National Health Service Foundation Trust, Manchester, U.K.; University of Manchester, Manchester, U.K.; and Weill Cornell Medical College in Qatar, Doha, Qatar
Corresponding author: Rayaz A. Malik, rayaz.a.malik@manchester.ac.uk.
A commentary has been published: Early Detection of Nerve Fiber Loss by Corneal Confocal Microscopy and Skin Biopsy in Recently Diagnosed Type 2 Diabetes
Rayaz A. Malik; Which Test for Diagnosing Early Human Diabetic Neuropathy?. Diabetes 1 July 2014; 63 (7): 2206–2208. https://doi.org/10.2337/db14-0492
Epidemiological studies show that diabetic neuropathy can affect 50–90% of patients with diabetes. Diabetes increases the risk of foot ulceration and amputation more than 23-fold (1), and neuropathy is the major contributory factor to this increased risk. Neuropathy presents as painful neuropathy in ∼20% of patients (2), and it independently predicts all-cause and diabetes-related mortality (3).
Several longitudinal studies have shown that glycemic control and vascular risk factors are important in the development of diabetic neuropathy in patients with both type 1 (4) and type 2 (5) diabetes. However, the time of onset and exact deficits associated with early diabetic neuropathy have not been established using a comprehensive neuropathy assessment. In an early study of 132 newly diagnosed patients with type 2 diabetes, symptoms and clinical signs of neuropathy had a low prevalence (1.5 and 2.3%, respectively), while polyneuropathy assessed by electrophysiology was identified in 15.2% of patients and autonomic neuropathy based on an abnormal expiration-to-inspiration ratio was increased threefold compared with healthy control subjects (6). In a 5-year follow-up of this cohort, there was only a minimal deterioration in electrophysiology (7).
The latest recommendations continue to advocate a multimodal approach to assessing diabetic neuropathy. This should include symptoms and signs, quantitative sensory testing, and electrophysiology (8). There is no doubt that symptoms and neurological deficits matter most to patients. However, the excessive variability and poor reproducibility (9) of these measures limit their utility in observational studies as well as in clinical trials. Although neurophysiology has been considered to be the most objective measure of diabetic neuropathy, it assesses only large myelinated fibers, which constitute about 10% of peripheral nerves. Further, the reproducibility of this approach has been questioned (10).
Small fibers constitute the majority of peripheral nerve fibers, are the earliest to be damaged, and have direct pathophysiological relevance to generation of nociceptive signals, leading to both neuropathic pain (11) and impaired pressure-induced vasodilation (12) predisposing to foot ulceration. Despite these factors, small nerve fibers receive considerably less attention than large ones. Perhaps not surprisingly, a reduction in intraepidermal nerve fiber density (IENFD) has been demonstrated in subjects with impaired glucose tolerance, which improved after lifestyle intervention (13). In contrast, Dyck et al. (14) found no evidence of neuropathy in subjects with impaired glycemia. However, their diagnosis of neuropathy was based on composite abnormality in nerve conduction. Although small fibers can be assessed objectively by quantifying IENFD in skin biopsies, this is an invasive procedure requiring expert laboratory assessment (15).
We have pioneered corneal confocal microscopy (CCM), a rapid and noninvasive ophthalmic technique. The technique has been shown to be reproducible and highly sensitive and specific in the diagnosis of early nerve damage, even in patients without symptoms or signs and in those without neurophysiologic abnormalities (16) (Fig. 1). The utility of this technique was confirmed recently by demonstrating that small-fiber dysfunction and corneal nerve loss predated neurophysiologic abnormalities in patients with type 1 diabetes (17).
CCM images of the subbasal nerve plexus from a control subject (A) and patients with mild (B), moderate (C), and severe (D) diabetic neuropathy, demonstrating a progressive reduction in corneal nerve fiber density (yellow arrows) and nerve branch density (red arrows).
In this issue, the new report by Ziegler et al. (18) is timely because it uses neurophysiology and quantitative sensory (vibration and thermal perception thresholds) and autonomic function testing, along with a detailed assessment of small-fiber pathology by quantifying IENFD and corneal nerve fiber morphology using CCM. Despite the relatively short duration of diagnosed diabetes among study participants (2.1 ± 1.8 years) and their excellent glycemic control (HbA1c 6.8 ± 1.1% or 50.8 ± 12.0 mmol/mol), these patients showed evidence of abnormalities in a number of measures, including lower-limb electrophysiology, vibration and cold detection thresholds, and expiration-to-inspiration and Valsalva ratios. A reduction below the 2.5th percentile for corneal nerve fiber density was shown in 21% of the patients. Although reduced IENFD was present in 14% of the patients, they did not all exhibit reduced corneal nerve fiber density.
Although there were some weak, but statistically significant, correlations between CCM and IENFD and electrophysiology measures, there was no correlation between CCM and quantitative sensory testing or autonomic function testing. This is in contrast to another recent study showing highly significant correlations between corneal nerve fiber length and cold detection threshold, laser Doppler imaging flare technique, and heart rate variability (19). Clearly, only a longitudinal follow-up study will be able to identify which of these parameters—particularly corneal nerve fiber density or IENFD—best predict development and progression of diabetic neuropathy. Furthermore, the prevalence of microalbuminuria (15.1%) and background retinopathy (2.3%) were lower than the prevalence of neuropathy, an observation that is consistent with another recent study showing corneal nerve loss even in patients with type 2 diabetes who do not have diabetic retinopathy (20). These findings challenge the dogma that the earliest microvascular complications of diabetes are retinopathy and microalbuminuria. Ziegler et al. (18) used a novel corneal nerve imaging and quantification technique that enabled analysis of a larger corneal area, potentially enhancing the utility of CCM. However, the diagnostic utility of this technique compared with the faster and established technique involving central corneal image acquisition with automated image analysis (16) remains to be established.
The study by Ziegler et al. (18) and other ongoing longitudinal studies, such as the Longitudinal Assessment of Neuropathy in type 1 Diabetes using novel ophthalmic Markers (LANDMark) trial (21) in type 1 diabetes, which have used a battery of established tests, including symptoms and deficits, neurophysiology, quantitative sensory testing, autonomic function tests, and the newer more precise small-fiber tests such as IENFD and CCM, will enable us to objectively establish the utility of each of these tests. This information will provide insight into the most effective early diagnostic tests as well as the best surrogate end points for clinical trials of diabetic neuropathy. To continue to advocate measures that do not fulfill the very basic definition of a surrogate end point for the diagnosis of diabetic neuropathy (8) is questionable. This is especially important if the diagnostic tests are aimed at identifying the earliest phases of nerve damage in longitudinal studies of risk factors for development, progression, or regression of diabetic neuropathy. These considerations warrant careful attention if we are to resurrect translational research and U.S. Food and Drug Administration approval of new therapies for human diabetic neuropathy.
See accompanying article, p. 2454.
Jeffcoate
Variation in the recorded incidence of amputation of the lower limb in England
van Ross
Prevalence and characteristics of painful diabetic neuropathy in a large community-based diabetic population in the U.K
Somatic neuropathy is an independent predictor of all- and diabetes-related mortality in type 2 diabetic patients: a population-based 5-year follow-up study (KCIS No. 29)
Eur J Neurol
Tesfaye
Chaturvedi
EURODIAB Prospective Complications Study Group
Vascular risk factors and diabetic neuropathy
Partanen
Niskanen
Lehtinen
Mervaala
Siitonen
Uusitupa
Natural history of peripheral neuropathy in patients with non-insulin-dependent diabetes mellitus
Pyörälä
Prevalence of neuropathy in newly diagnosed NIDDM and nondiabetic control subjects
Hyvönen
Nerve function and its determinants in patients with newly-diagnosed type 2 (non-insulin-dependent) diabetes mellitus and in control subjects—a 5-year follow-up
Dyck
Assessing decreased sensation and increased sensory phenomena in diabetic polyneuropathies
Cl vs. NPhys Trial Investigators
Signs and symptoms versus nerve conduction studies to diagnose diabetic sensorimotor polyneuropathy: Cl vs. NPhys trial
Muscle Nerve
Clinical vs. Neurophysiology Trial 3 Investigators
A trial of proficiency of nerve conduction: greater standardization still needed
Dauch
Porzio
Increased axonal regeneration and swellings in intraepidermal nerve fibers characterize painful phenotypes of diabetic neuropathy
J Pain
Fromy
Lingueglia
Sigaudo-Roussel
Saumet
Asic3 is a neuronal mechanosensor for pressure-induced vasodilation that protects against pressure ulcers
Lifestyle intervention for pre-diabetic neuropathy
Impaired glycemia and diabetic polyneuropathy: the OC IG Survey
Hoeijmakers JG, Faber CG, Lauria G, Merkies IS, Waxman SG. Small-fibre neuropathies–advances in diagnosis, pathophysiology and management. Nat Rev Neurol 2012;8:369−379
Petropoulos IN, Alam U, Fadavi H, et al. Rapid automated diagnosis of diabetic peripheral neuropathy with in vivo corneal confocal microscopy. Invest Ophthalmol Vis Sci 2014;55:2071−2078
Breiner A, Lovblom LE, Perkins BA, Bril V. Does the prevailing hypothesis that small-fiber dysfunction precedes large-fiber dysfunction apply to type 1 diabetic patients? Diabetes Care. 26 February 2014 [Epub ahead of print]
Ziegler D, Papanas N, Zhivov A, et al. Early detection of nerve fiber loss by corneal confocal microscopy and skin biopsy in recently diagnosed type 2 diabetes. Diabetes 2014;63:2454–2463
Sivaskandarajah
Lovblom
Structure-function relationship between corneal nerves and conventional small-fiber tests in type 1 diabetes
Bitirgen
Ozkagnici
Kerimoglu
Corneal nerve fibre damage precedes diabetic retinopathy in patients with type 2 diabetes mellitus
Pritchard N, Edwards K, Dehghani C, et al. Longitudinal Assessment of Neuropathy in Type 1 Diabetes using novel ophthalmic Markers (LANDMark): study design and baseline characteristics. Diabetes Res Clin Pract.20 February 2014 [Epub ahead of print]
© 2014 by the American Diabetes Association.
Early Detection of Nerve Fiber Loss by Corneal Confocal Microscopy and Skin Biopsy in Recently Diagnosed Type 2 Diabetes


text:
#ifndef SVGAnimatedPreserveAspectRatio_h
#define SVGAnimatedPreserveAspectRatio_h

#if ENABLE(SVG)
#include "SVGAnimatedPropertyTearOff.h"
#include "SVGAnimatedTypeAnimator.h"
#include "SVGPreserveAspectRatio.h"

namespace WebCore {

typedef SVGAnimatedPropertyTearOff<SVGPreserveAspectRatio> SVGAnimatedPreserveAspectRatio;

// Helper macros to declare/define a SVGAnimatedPreserveAspectRatio object
#define DECLARE_ANIMATED_PRESERVEASPECTRATIO(UpperProperty, LowerProperty) \
DECLARE_ANIMATED_PROPERTY(SVGAnimatedPreserveAspectRatio, SVGPreserveAspectRatio, UpperProperty, LowerProperty)

#define DEFINE_ANIMATED_PRESERVEASPECTRATIO(OwnerType, DOMAttribute, UpperProperty, LowerProperty) \
DEFINE_ANIMATED_PROPERTY(AnimatedPreserveAspectRatio, OwnerType, DOMAttribute, DOMAttribute.localName(), UpperProperty, LowerProperty)

class SVGAnimationElement;

class SVGAnimatedPreserveAspectRatioAnimator : public SVGAnimatedTypeAnimator {

public:
    SVGAnimatedPreserveAspectRatioAnimator(SVGAnimationElement*, SVGElement*);
    virtual ~SVGAnimatedPreserveAspectRatioAnimator() { }

    virtual PassOwnPtr<SVGAnimatedType> constructFromString(const String&);

    virtual void calculateFromAndToValues(OwnPtr<SVGAnimatedType>& fromValue, OwnPtr<SVGAnimatedType>& toValue, const String& fromString, const String& toString);
    virtual void calculateFromAndByValues(OwnPtr<SVGAnimatedType>& fromValue, OwnPtr<SVGAnimatedType>& toValue, const String& fromString, const String& byString);
    virtual void calculateAnimatedValue(float percentage, unsigned repeatCount,
                                        OwnPtr<SVGAnimatedType>& fromValue, OwnPtr<SVGAnimatedType>& toValue, OwnPtr<SVGAnimatedType>& animatedValue);
    virtual float calculateDistance(const String& fromString, const String& toString);
};

} // namespace WebCore

#endif // ENABLE(SVG)
#endif


Frank Adasiewicz came from Poland in the 1890s. When he arrived in Youngstown, he was given shelter by the Mylnarski family on the North Side and became a parishioner of St. Casimir parish. I was told that he donated funds but, not one for hard labor, never physically laid the bricks to build the current church with his neighbors.
<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />When he married Stanisława, he bought a home one block away on Superior Street and his family's life, like that of many immigrants, revolved around that church.
My mother, Dolores Adasiewicz Cika, grew up with her five brothers and sisters there. At St. Casimir she was baptized, educated, married and a few years ago, buried from there. The stories she told of her father dressing up for mass and her walking to her wedding down the alley across from church were so vivid I feel as if I was there.
Although she moved from the family home and the neighborhood in 1963 when pregnant with me, she never left the parish; too much of her heart was there.
I never lived in the neighborhood, but we attended that church. She made sure my sisters and I grew up knowing all the people, stories and even streets that surrounded it. It was important that we appreciate it as much as she did and that we create our own memories there. And she accomplished her goal.On Saturday when Bishop George Murray celebrates the last mass at this parish my family and I will be sitting in the pews remembering experiences there with so many others.
· Convincing Martin Hernandez and Robert Cook to help me sneak by the guest priest and be an altar server LONG before any girls were allowed on the altar anywhere. Wow, was Fr. Bill Slipski angry when he got back from vacation!
· The Polish Day that almost wasn't thanks to a hurricane but was saved by Fr. Keehner's generosity and became the impetus for the creation of PolishYoungstown…and my Mom sitting in a seat on the corner of that end table smiling from ear to ear. "I haven't seen it this crowded here since my wedding."…Polish Arts Wigilia 2008 when we spent an entire day decorating the stage then Krakowiaki did a performance entering only with candle light…numerous dance workshops and rehersals…Polish language lessons…saying and singing the Novena to Our Lady of Częstochowa in the chapel with just Fr. Joseph Rudjak because no one else came to do so.


One of the most successful and rewarding parts of The Darts Performance Centre has been the creation, adaption and growth of the Performance Darts range. In a market place packed with long established brands producing high quality darts, it is a daunting prospect trying to find some space to develop your own brand of darts.
But we have done it, thanks to our innovative designs, exceptional value and most importantly the amazing support and feedback we get from our customers. Our loyal following of Performance Darts' fans and users have been immense in spreading the word, coming up with new ideas and giving us all a lift when the many positive remarks and feedback come in.
However, the time has come for the Performance Darts to evolve further. By the end of the month the Performance Darts will be separated from the Darts Performance Centre and will operate as an independent brand of its own.
Why? Well we want to start wholesaling the Performance Darts to other online and High Street darts shops to spread the word even further than we have managed. We felt the best way to achieve this, and the fairest for our new wholesale customers was to separate the DPC from Performance Darts.
The DPC Darts shop will still stock the Performance Darts of course but so will your favourite darts retailer not just in the UK but Europe and the rest of the World too.
Our new Performance Darts trade website will be launched very soon so any darts companies that would like to share the success of the range please do get in touch for all the details.
We will be having a celebration of the separation of the Performance Darts towards the end of the month. We will be introducing all the new darts retailers who have got onboard and there will be some competitions running all day to win some darts.
Watch this space for the date!
So, a huge thanks to all those who have been involved in the creation and who have or still do throw the Performance Darts, your support has been amazing. We have some great ideas for some new ranges as well as some other ideas you will definitely want to be involved with.
So it's goodbye to the DPC darts and welcome to The Performance Darts range!


text:
Crime in the Vatican City consists largely of purse snatching, pick-pocketing and shoplifting perpetrated by tourists upon other tourists. The tourist foot-traffic in St. Peter's Square is one of the main locations for pickpockets in Vatican City.

Petty crimes per capita
The Vatican's extremely small size results in a few statistical oddities. There are 18 million visitors to the state each year, and the most common crime is petty theft — purse snatching, pick-pocketing and shoplifting — typically perpetrated and suffered by outsiders.

Based on a population of 455 in 1992, the 397 civil offences in that year represent a crime rate of 0.87 crimes per capita, with 608 penal offences or 1.33 per capita.

Policing

Police forces

The Corpo della Gendarmeria dello Stato della Città del Vaticano () is the gendarmerie, or police and security force, of Vatican City and the extraterritorial properties of the Holy See.

The corps is responsible for security, public order, border control, traffic control, criminal investigation, and other general police duties in Vatican City including providing security for the pope outside of Vatican City. The corps has 130 personnel and is a part of the Security and Civil Defence Services Department (which also includes the Vatican Fire Brigade), an organ of the Governorate of Vatican City.

The Pontifical Swiss Guards are in charge of protecting the Pope and the Apostolic Palace.

Cooperation with the Italian government
In accordance with article 3 of the 1929 Lateran Treaty between the Holy See and Italy, St. Peter's Square, although part of the Vatican City State, is normally patrolled by the Italian police, up to but not including the steps leading to the basilica.

Article 22 of the Lateran Treaty provides that the Italian government, when requested by the Holy See, seeks prosecution and detention of criminal suspects, at the expense of the Vatican.

The Vatican has no prison system, apart from a few cells for pre-trial detention. People sentenced to imprisonment by the Vatican serve time in Italian prisons, with costs covered by the Vatican.

Abolition of capital punishment (1969)

In 1969, the Vatican state abolished capital punishment. It had been envisaged in legislation the Vatican adopted in 1929 based on Italian law, but the power was never exercised.

Establishment of Head Prosecutor (2020)
On March 16, 2020, Pope Francis made public legislation which requires a head for the Office of the Promoter of Justice (prosecutor's office), and sets out a standardized procedure for possible disciplinary action against certified advocates.

Notable incidents

Assassination attempt

A few major criminal events have occurred in recent decades within Vatican territory. On May 13, 1981, Pope John Paul II suffered an assassination attempt by Mehmet Ali Ağca. This episode led to a much stronger emphasis on the Swiss Guard's functional, non-ceremonial roles. This has included enhanced training in unarmed combat and small arms.  The small arms are the same as those used in the Swiss army.

Swiss Guard killing

On May 4, 1998, the Swiss Guard experienced one of its greatest scandals for over 100 years when the commander of the Guard, Alois Estermann, was murdered in unclear circumstances in Vatican City. According to the official Vatican version, Estermann and his wife, Gladys Meza Romero, were killed by the young Swiss Guard Cédric Tornay, who later committed suicide. Estermann had been named commander of the Swiss Guard the same day.

Vatican Bank scandal

The Vatican Bank was Banco Ambrosiano's main shareholder. Archbishop Paul Marcinkus, head of the Institute for Religious Works from 1971 to 1989, was indicted in Italy in 1981 as an accessory in the $3.5 billion collapse of Banco Ambrosiano, one of the major post-war financial scandals. Banco Ambrosiano was accused of laundering drug money for the Sicilian Mafia.

Theft of secret documents

The Vatican leaks scandal is a scandal involving leaked Vatican documents, allegedly exposing corruption.

The scandal first came to light in January 2012, when Italian journalist Gianluigi Nuzzi published letters from Carlo Maria Viganò, formerly the second-ranked Vatican administrator to the pope, in which he begged not to be transferred for having exposed alleged corruption that cost the Holy See millions in higher contract prices. Viganò was later named Apostolic Nuncio to the United States. Paolo Gabriele, the papal butler, was indicted by Vatican magistrates on 13 August 2012 for aggravated theft.

On 6 October, Gabriele was found to be guilty and was sentenced to a reduced sentence of 18 months. Gabriele was also ordered to pay legal expenses.

However, in a departure from the usual arrangement that sends convicted prisoners to serve time in an Italian prison, Gabriele served his sentence in a detention cell inside the Vatican police barracks. He was pardoned by Pope Benedict XVI on 22 December 2012.

Sex abuse trial
On 14 October 2020, the first-ever criminal sex abuse trial held within the Vatican City began, and involves a priest accused of sexually abusing a former St. Pius X youth seminary student between 2007 and 2012 and another for aiding and abetting the abuse. The accused abuser, Rev. Gabriele Martinelli, 28, was a seminarian and has since become a priest. The other defendant is the seminary's 72-year-old former rector Rev. Enrico Radice, who is charged with aiding and abetting the alleged abuse.

See also

 Law of Vatican City
 Index of Vatican City-related articles

References

Society of Vatican City
Law enforcement in Vatican City
Law of Vatican City

redpajama_set_name: RedPajamaWikipedia


We are a coalition of Marfan Syndrome patient organisations within Europe, aiming to support and encourage each other by exchanging and sharing information.
Marfan syndrome is a life-threatening genetic disorder, and an early, accurate diagnosis is essential, not only for people with Marfan syndrome, but also for those with related disorders. (*).


text:
package org.elasticsearch.action.admin.indices.stats;

import org.elasticsearch.action.Action;
import org.elasticsearch.client.ElasticsearchClient;

/**
 */
public class IndicesStatsAction extends Action<IndicesStatsRequest, IndicesStatsResponse, IndicesStatsRequestBuilder> {

    public static final IndicesStatsAction INSTANCE = new IndicesStatsAction();
    public static final String NAME = "indices:monitor/stats";

    private IndicesStatsAction() {
        super(NAME);
    }

    @Override
    public IndicesStatsResponse newResponse() {
        return new IndicesStatsResponse();
    }

    @Override
    public IndicesStatsRequestBuilder newRequestBuilder(ElasticsearchClient client) {
        return new IndicesStatsRequestBuilder(client, this);
    }
}


1. New users can be our members and access to the online data service only after having subscribed to our online China data service and accept our License Agreement.
2. The account will be effective within 24 hours after we receive the payment for the subscription fee.
3. Please fill in the application formif your library is interested in this service.
4. For details about the subscription fees, please visit http://chinadatacenter.net/Data/ServiceContent.aspx?id=58.
For any questions or suggestions about this China online data service, please contact the All China Marketing Research LLC at office@chinadatacenter.net or (734)272-2814.


text:
/* This file is part of Spectrum3D.

    Spectrum3D is free software: you can redistribute it and/or modify
    it under the terms of the GNU General Public License as published by
    the Free Software Foundation, either version 3 of the License, or
    (at your option) any later version.

    Spectrum3D 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.

    You should have received a copy of the GNU General Public License
    along with Spectrum3D.  If not, see <http://www.gnu.org/licenses/>.
*/

#include <stdlib.h>
#include <stdio.h>
#include <string.h>
#include <errno.h>
#include <gtk/gtk.h>
#include <string.h>
#include <GL/gl.h>
#include <GL/glu.h>

#include "config.h"
#include "preferences.h"
#include "spectrum3d.h"

char prefPath[100], rcPath[100];

/* Preferences structures are declared here */
int sizeofPrefInt = 6;
PreferenceInt preferenceInt[6] = {
	{&spectrum3d.width, 600, 50, 2500, "spectrum3d.width"},
	{&spectrum3d.height, 300, 50, 1500, "spectrum3d.height"},
	{&spectrum3d.interval_display, 100, 100, 500, "spectrum3d.interval_display"},
	{&spectrum3d.interval_rt, 150, 100, 500, "spectrum3d.interval_rt"},
	{&spectrum3d.priority, 50, 50, 80, "spectrum3d.priority"},
	{&spectrum3d.frames, 100, 50, 400, "spectrum3d.frames"}
	};

int sizeofPrefGLFloat = 7;
PreferenceGLFloat preferenceGLFloat[7] = {
	{&spectrum3d.presetX, -0.7, -100, 100, "spectrum3d.presetX"},
	{&spectrum3d.presetY, -0.1, -100, 100, "spectrum3d.presetY"},
	{&spectrum3d.presetZ, -1.05, -100, 100, "spectrum3d.presetZ"},
	{&spectrum3d.presetAngleH, -16, -360, 360, "spectrum3d.presetAngleH"},
	{&spectrum3d.presetAngleV, 10, -360, 360, "spectrum3d.presetAngleV"},
	{&spectrum3d.presetAngleZ, 0, -360, 360, "spectrum3d.presetAngleZ"},
	{&spectrum3d.zStep, 0.01, 0.01, 0.03, "spectrum3d.zStep"}
	};

int sizeofPrefGbool = 3;
PreferenceGbool preferenceGbool[3] = {
	{&spectrum3d.realtime, FALSE, 0, 1, "spectrum3d.realtime"},
	{&spectrum3d.enableTouch, TRUE, 0, 1, "spectrum3d.enableTouch"},
	{&externalWindow, FALSE, 0, 1, "spectrum3d.externalWindow"}
	};

int sizeofPrefString = 1;
char *preferenceString[1] = {policyName};
char prefStringPossibleValue[1][4][40] = {
	{"policyName", "SCHED_RR", "SCHED_RR", "SCHED_FIFO"}
	};

#define ERROR_MESSAGE_PRINT_IN_RCFILE()  \
	if (result < 0){  \
		gchar message[200]; \
		sprintf(message, "***** ERROR writing in rc file: %s\nClosing preferences file", strerror( errno ));  \
		printf ("\n%s\n", message); \
		error_message_window(message);  \
		fclose(rcFile);  \
		return; \
		}

#define ERROR_MESSAGE_GET_PREFERENCES()   \
	if (result == NULL){  \
		printf("Error getting file content: %s\n", strerror( errno ));	  \
		}

#define ERROR_MESSAGE_COMPARE_VALUES(VARIABLE)	\
	gchar message[200]; \
	sprintf(message, "'%s' seems out of range -> using default values\n", VARIABLE); \
	printf ("\n%s\n", message); \
	error_message_window(message); \
	set_default_values(); \
	error = TRUE; \
	return;

/* Set all values to default; this happens if Spectrum3d cannot open the preferences file, typically when it is run for the first time; this happen also if one on the values appears to be out of range */
void set_default_values(){
	int i = 0;
	for (i = 0; i < sizeofPrefInt; i++){
		*preferenceInt[i].var = preferenceInt[i].def;
		}
	for (i = 0; i < sizeofPrefGLFloat; i++){
		*preferenceGLFloat[i].var = preferenceGLFloat[i].def;
		}
	for (i = 0; i < sizeofPrefGbool; i++){
		*preferenceGbool[i].var = preferenceGbool[i].def;
		}
	for (i = 0; i < sizeofPrefString; i++){
		if (strcmp(prefStringPossibleValue[i][1], "null") != 0){
			sprintf(preferenceString[i], "%s", prefStringPossibleValue[i][1]);
			}
		else {

			}
		}
}

/* save preferences values in a 'spectrum3drc' preferences file */
void print_rc_file(){
	printf("Saving preferences :\n");
	int i = 0;
	GError *error = NULL;
	char rcDirectoryPath[100] = "";

	/* Preference file ('spectrum3drc') is in the /HOME/.spectrum3d/ directory; this directory will be created first if it doesn't exist; if it cannot be created, error message will be generated */
	sprintf(rcDirectoryPath, "%s/.spectrum3d/", g_get_home_dir());
	printf(" - Looking for '/HOME/.spectrum3d' directory ... ");
	GFile *rcDirectory = g_file_new_for_path (rcDirectoryPath);
	if (g_file_make_directory (rcDirectory, NULL, &error)){
		printf("doesn't exist -> creating\n");
		}
	else {
		if (error != NULL){
			if (error->code == G_FILE_ERROR_ACCES){
				printf("OK\n");
				}
			else {
				gchar message[500];
				sprintf(message, "\nUnable to create directory '%s' : %s\n", rcDirectoryPath, error->message);
				printf ("%s\n", message);
				error_message_window(message);
				}
			g_error_free (error);
			}
		else {
			gchar *message = "\nUnable to create directory, but GError is NULL\n";
			printf("%s\n", message);
			error_message_window(message);
			}
		}

/* Preferences file will be open to be written with preferences values */
	rcFile = fopen(rcPath, "w+");
/* Check if opening was succefull, then write current values to the file, then close it */
	if (rcFile != NULL){
		int result = 0;
		printf(" - Opening rc file and writing preferences values");
		fprintf(rcFile, "# This is an spectrum3drc file autogenerated by Spectrum3d \n");
		for (i = 0; i < sizeofPrefInt ; i++){
			result = fprintf(rcFile, "# %s \n%d\n", preferenceInt[i].name, *preferenceInt[i].var);
			ERROR_MESSAGE_PRINT_IN_RCFILE()
			}
		for (i = 0; i < sizeofPrefGLFloat ; i++){
			fprintf(rcFile, "# %s \n%f\n", preferenceGLFloat[i].name, *preferenceGLFloat[i].var);
			ERROR_MESSAGE_PRINT_IN_RCFILE()
			}
		for (i = 0; i < sizeofPrefGbool ; i++){
			fprintf(rcFile, "# %s \n%d\n", preferenceGbool[i].name, *preferenceGbool[i].var);
			ERROR_MESSAGE_PRINT_IN_RCFILE()
			}
		for (i = 0; i < sizeofPrefString ; i++){
			fprintf(rcFile, "# %s \n%s\n", prefStringPossibleValue[i][0], preferenceString[i]);
			ERROR_MESSAGE_PRINT_IN_RCFILE()
			}
		fclose(rcFile);
		printf("... OK\n");
		}
	else {
		printf(" -> Preferences file cannot be open\n");
		}
}

/* Check if retrieved values from preferences file are within their nomal range */
void compare_values(){
	int i = 0;
	gboolean error = FALSE, match = FALSE;
	printf("Checking values retrieved from rc file for consistency ");

	for (i = 0; i < sizeofPrefInt; i++){
		if (*preferenceInt[i].var < preferenceInt[i].min || *preferenceInt[i].var > preferenceInt[i].max){
			ERROR_MESSAGE_COMPARE_VALUES(preferenceInt[i].name)
			}
		}

	for (i = 0; i < sizeofPrefGLFloat; i++){
		if (*preferenceGLFloat[i].var < preferenceGLFloat[i].min || *preferenceGLFloat[i].var > preferenceGLFloat[i].max){
			ERROR_MESSAGE_COMPARE_VALUES(preferenceGLFloat[i].name)
			}
		}

	for (i = 0; i < sizeofPrefGbool; i++){
		if (*preferenceGbool[i].var < preferenceGbool[i].min || *preferenceGbool[i].var > preferenceGbool[i].max){
			ERROR_MESSAGE_COMPARE_VALUES(preferenceGbool[i].name)
			}
		}

	for (i = 0; i < sizeofPrefString; i++){
		int a = 0;
		match = FALSE;
		for (a = 2; a < 4; a++){
			char *test = strstr(preferenceString[i], prefStringPossibleValue[i][a]);
			if (test != NULL){
				match = TRUE;
				}
			}
		if (match == FALSE){
			printf("\n'%s' seems not to be correct -> using default values and saving them as default\n", prefStringPossibleValue[i][0]);
			set_default_values();
			//print_rc_file("def");
			i = sizeofPrefString;
			}
		}
	if (error == FALSE && match == TRUE){
		printf("  ... OK\n");
		}
}

/* Get the saved values from the configuration file */
void get_saved_values(){
	printf("Getting saved rom rc file\n");
	char confString[105]="";
	int i = 0;

/* Open preferences file if it exists; if it doesn't exists, all values will bet set to default values */
	sprintf(rcPath, "%s/.spectrum3d/spectrum3drc", g_get_home_dir());
	rcFile = fopen(rcPath, "r+");
	if (rcFile != NULL){
		printf("Opening the 'spectrum3drc' file and getting the saved values\n");
		char *result = NULL;
		i = 0;
		while (i < sizeofPrefInt){
			result = fgets(confString, 100, rcFile);
			ERROR_MESSAGE_GET_PREFERENCES()
			if (strchr(confString, '#') == NULL){
				*preferenceInt[i].var = strtol(confString, NULL, 10);
				i++;
				}
			}
		i = 0;
		while (i < sizeofPrefGLFloat){
			result = fgets(confString, 100, rcFile);
			ERROR_MESSAGE_GET_PREFERENCES()
			if (strchr(confString, '#') == NULL){
				*preferenceGLFloat[i].var = strtof(confString, NULL);
				i++;
				}
			}
		i = 0;
		while (i < sizeofPrefGbool){
			result = fgets(confString, 100, rcFile);
			ERROR_MESSAGE_GET_PREFERENCES()
			if (strchr(confString, '#') == NULL){
				*preferenceGbool[i].var = strtol(confString, NULL, 10);
				i++;
				}
			}
		i = 0;
		while (i < sizeofPrefString){
			result = fgets(confString, 100, rcFile);
				if (strchr(confString, '#') == NULL){
					sprintf(preferenceString[i], "%s", confString);
					preferenceString[i][strlen(preferenceString[i])-1] = 0;
					i++;
					}
			}
		fclose(rcFile);
		compare_values();
		}
	else {
//If the 'preferences file doesn't exist, create one with default values
		printf ("WARNING : RC file doesn't exist or cannot be open; this is normal if you run Spectrum3d for the first time; \n");
		set_default_values();
		}
}


text:
What Time Does Target Open On Black Friday 2017? Set Your Alarm Clocks
By Danielle Valente
There's nothing more satisfying than long, romantic strolls down the aisles of Target while browsing for items you want and inconveniently forgetting about everything you actually need (i.e. toilet paper). Though a trip to the store any time of the year is pure magic (hello, it is called "Greatland"), the holidays make your shopping spree all the more exciting. "What time does Target open on Black Friday 2017?" you ask — early, very, very early.
Don't eat your way into oblivion on Thanksgiving, because you're going to need your energy the next day to score some sweet deals. Target locations across the country open at 6 a.m., certainly an ungodly hour, especially after a holiday. But Target — the land of all that is good — is extraordinary at any time of day. It might be a struggle to rise before the sun, but have confidence that you can take on the challenge. If you're itching to stay under the covers a little longer, most Target locations close anywhere from 10 p.m. to midnight (check online to see your neighborhood store's times).
So what exactly is in store for those who get up in the wee hours of the morning? Target's sales are definitely cause for celebration for everyone. There is a discount on all TVs, $50 off Amazon tablets, $20 savings if you're thinking about making Alexa a member of the family, $9 movies like La La Land and Wonder Woman, plus much more.
Oh Target, we knew you'd be good to us this Black Friday.
For those who are less inclined to roll out of bed when it's dark, Target allows lazy customers to still participate in the Black Friday frenzy from the comfort of their couch. No need to remove those jammies and slippers — you can still enjoy the deals and perks right from home. This is yet another reason why they call it Greatland, my friends.
Exclusive online-only deals will be available on Target.com and through the Target mobile app, according to the store's site. Whip out a helping of leftover apple pie for breakfast, find your credit card, and get browsing. Time is of the essence this Black Friday.
Even more savings are available online... but there's a catch. If you're a REDcard holder, you're entitled to over 100 Black Friday deals on Target.com before Thanksgiving on Nov. 22. If this piques your interest, head to the REDcard page to get the inside scoop about what you can look forward to this year.
If you can't contain your excitement, stop by Target on Thanksgiving day before you have dessert. Stores are open from 6 p.m. to midnight for those anxious shoppers. It's hard to resist waiting — totally an understandable feeling when Target is concerned.
If you're ready to kick off the holidays with awful morning hours, a bit of chaos, and a myriad of deals, Target is definitely going to be your location of choice. To really get into the spirit of things, stop by the location's Starbucks for a taste of its holiday drinks and its adorably festive cup décor.
Starbucks unveiled its new cups for the 2017 season, and they're guaranteed to fill you with the warm and fuzzies. Though people are accustomed to the iconic red cup, the coffee company decided to put a spin on its classic. This is the first time Starbucks has unveiled a color-in holiday cup for its customers, and there's definitely a special reason why it made this choice.
"I liked the idea of hands as the centering point, a symbol of connection, love and giving joy, whether it's wrapping presents or decorating a tree, writing cards, or enjoying a mug of cocoa," Leanne Fremar, executive creative director for Starbucks, said in a statement. Doesn't that sound like a must for your Chestnut Praline Latte, Caramel Brulée Latte, or Peppermint Mocha?
Now that you've officially been convinced, it's time to get your list ready for Black Friday at Target. Play nice, folks — there are plenty of deals to go around. Happy shopping.
Check out the entire Gen Why series and other videos on Facebook and the Bustle app across Apple TV, Roku, and Amazon Fire TV.