This contribution takes the form of a short report on a classroom technique for teaching Old English poetry which Dr Helen Brookman (Kings College, London) and Dr Liv Robinson (Brasenose College, University of Oxford) have recently developed, trialled and evaluated. As tutors, we were interested in the role and effects of the translation – particularly translating medieval texts into modern English – which we, as medievalists, often ask our students to do; and the impacts which that translation can have on their learning. In 2014, we designed and implemented a research project to investigate the role that what we termed "creative translation" could play in teaching Old English literature, using Dr Robinson's then-first-year undergraduate English students at Brasenose College, Oxford, as student participants. In many colleges at Oxford, Old English is a compulsory part of the first year of the degree course in English, and students are required, in an end-of-year exam, to comment closely on a passage of Old English poetry in the original language, discussing not just its content, but also its distinctive literary and poetic form – so, for example, its use of four-stress alliterative lines and formulaic words and expressions, as well as characteristic techniques such as variation, compound words, and kennings. The requirements of this kind of assessment mean that the Old English poetry cannot, or at least cannot only be studied in modern English translation – we have to teach our first-year students the basics of Old English grammar and syntax, and basic techniques for using a glossary, and thus equip them (ideally) to undertake translations and close reading of the set Old English verse themselves. Students are expected to translate the set of poems in their own time, as literally as possible (i.e., making sure that they understand each word, and the relationships between the words in a sentence); class time is used for examining particular passages of poetry in detail, and discussing their poetic features as a group. In our experience, students habitually find Old English very challenging; there are usually fluctuating levels of grammatical knowledge and experience of learning languages within any given group, and the vast majority of students are entirely unfamiliar with the more complex grammatical knowledge that is needed to understand Old English (for example, what a case system is, and how it can affect syntax and word-formation). Learning basic grammar is thus a prerequisite if students are to be able to read and understand Old English for themselves, as the assessment demands; however, all too often, this need to begin with grammar leads students to find Old English rather off-putting and esoteric.  Some never wholly shake off the impression that Old English is all about grammar and not really about literature; fairly uniformly, they find discussing Old English verse as poetry extremely difficult at the start of the year, and this problem persists for some right up until the end of the course.
We were interested in finding out whether asking students to do a different kind of translation from the class preparation they usually did would help them to see the texts as poetry to be enjoyed and analysed like any other piece of literature. We decided to ask the students to undertake what we called a "creative translation:" to produce their own piece of poetry or other creative work which responded meaningfully in some way to a short piece of Old English verse, and to come to class prepared to articulate how they felt that it did so. We differentiated this task from the more "word-for-word", extremely accurate kind of translation which they were usually asked to undertake for class, and which, for the purposes of this exercise, we called "literal translation." To prepare them for their creative translation task, we designed and delivered a class in which the students discussed some critical writing on translating Old English poetry, and together analysed a recent poetic translation of an Old English poem with which they were familiar. After this preparatory class, the creative translation assignment was set. We used the Old English poem The Ruin, which we split into small sections for translation; each student was given a different section. The students then brought their own creative translations to our next class, and discussed them in pairs, explaining the reasons for their creative choices, and offering feedback on their partners' work. During these paired discussions, the students could experiment with redrafting parts of their creative work. Then each student presented her or his translation to the whole group, one at a time, and we recorded each one on the whiteboard, forming a composite translated poem. The students were led in these activities by a group of second-year English students, who had taken the Old English course the year before and subsequently elected to specialise in medieval literature; these peer teachers supported the students in presenting their own creative work to each other and to the class, and offered feedback and encouragement throughout the process.
By undertaking this exercise, we hoped to allow the first-year students to identify and "inhabit" some of the distinctive features and themes of Old English poetry – and in doing so, we hoped that they would become more sensitized to their presence in the Old English texts we were studying, more able to reflect on their poetic and aesthetic effects, and more engaged and motivated in their study of Old English. Dr. Robinson led the class, while Dr. Brookman observed and took notes; she then conducted recorded interviews with the students about their experiences. These, together with the translations the students actually produced, formed the basis of our data for analysis. We undertook this analysis by close-reading our students' interview transcripts with a particular focus on the kinds of metaphors they used about the different translation processes, literal and creative, which they had undertaken in their study of Old English. We then read the ways in which they discussed their creative translations in the observed class alongside the actual creative output which they produced: their composite version of The Ruin, which the group chose to title The Mourning After the Empire Before. Our analysis of this classroom technique and its effects for these students suggests that there were several areas in which they benefited from undertaking the task, and developed their understanding as a result of it.
The first observation which our data confirmed was that, as learners, our undergraduate group did indeed experience real difficulty in accessing the literariness of Old English poetry, and in approaching it as literature in a meaningful way. Their usual, literal translation activities appeared to reinforce this difficulty Despite being designed to give students as good a grasp as possible of the workings of Old English language and poetics, so as to equip them for effective and sensitive close reading of Old English verse, producing literal translations at times actively worked against students' sense that they were reading poetry. Undertaking creative translation, however, disrupted this pattern: students began to look for, and to see, poetic artistry and literary sophistication which they could enjoy and investigate where they had previously seen only verbs, nouns and inflections. One student, in his interview, described the Old English poem as an "archaic thing" – a description which suggests extreme age, and also a sense that he is unable to identify it as a poem: conceptually speaking, it was not even a text for him; rather, it was something completely unrecognizable, a "thing." When discussing the usual way he translated this "archaic thing" literally, he persistently used a metaphorical field relating to science, mathematical problem-solving such as Sudoku and jigsaw puzzles to talk about his experiences; this kind of metaphor was also employed by some of the other students. These metaphors suggest, broadly, a process involving the correct re-assembling of dis-assembled parts: a challenge which focuses on 'slotting together' words in order to get to a right answer.
When asked about doing creative translation, however, this metaphorical field changed radically: the students talked instead about finding multiple pathways into a text, about possibilities for imagining what might be happening, about using your imagination to inform your reading. They discussed creative translation as a way of opening up or revealing the Old English poem, and also explored the idea of opening oneself up to the poem through creatively translating it, in order to engage the better with it. Creative translations were not described as the result of the student's objectively or scientifically slotting in different pieces of a puzzle to arrive at an acceptable answer, as literal translations were; rather, creative translation was conceptualised as an experience which involved engaging with the full range of interpretative and imaginative possibilities offered by the poem. In this sense, creative translation appeared to help the students to approach Old English poems as multifaceted literary works, with a core imaginative and creative element. It thus helped to increase students' general engagement with and interest in Old English texts as literature. Indeed, one student evoked a strong sense of a new aesthetic, even emotional, connection which he now felt to the Old English material, having translated it creatively, noting specifically in his interview that "I took a lot from that poetically, in a way I haven't actually done with Old English yet" (our emphasis). This admission that Old English had not resonated with him poetically before – perhaps even that he hitherto has not seen it as poetry – demonstrates clearly the potential of creative translation activities to overturn students' experiences of Old English as remote and rule-based, and to allow them to develop a closer emotional and aesthetic connection to the material.
In addition to developing student sensitivity to Old English verse as literature, we found that the creative translation task allowed students to acquire more focused and targeted knowledge in the specific domain of Old English poetics. For example, several of the students, when presenting their translations in the paired discussions, spoke about how they wanted their work to sound like Old English. When faced with complete creative freedom to do whatever they wished within their translation, they began to value the very particular (and, to students accustomed to more contemporary poetic forms, very unusual) rhythmic qualities of Old English poetry: its four-stress metre and its alliteration. In order to make their translations reflect these aural qualities they had to give some thought to what Old English sounds like and why: they had, to an extent, to put themselves in the position of an Old English scop, focusing on finding or creating words which made semantic and syntactic sense in context, but which also slotted themselves into a pattern of stressed and unstressed syllables, and alliterated regularly on stressed syllables within that pattern. The students' paired discussions had made clear that the majority had decided early on to pursue this aim, and had had to work hard to achieve it, carefully considering a range of ways of expressing what they wanted to say, in order to find one which worked metrically and alliteratively. Inhabiting this particular feature of Old English verse caused them to realise that poets needed a wide variety of poetic vocabulary available to them in order to be able to write meaningfully within strict alliterative patterns. This was a realisation which perhaps helped to make sense of the proliferation of Old English poetic terms and possible compounds for oft-repeated, core concepts such as "man" or "warrior", "lord" or "horse": something which students, when beginning Old English and having to look most words up in a glossary, can find both disorientating and very frustrating. It also had further implications for their approach to another key feature of Old English verse: compound words.
Students began to recognise through practical experience that compound words can form a way of dealing with the requirement to balance semantic sense with alliterative restrictions. Several showed both inventiveness and sensitivity to tone in creating and using their own compound words within their translations. For example, the student who was translating the opening lines of The Ruin, in which the partially-destroyed buildings are described, created an image of the city's "gates" as "gap-toothed." In this way, she conveyed a moving sense of the desolation of the ruined buildings through the metaphor of a decomposing, ageing or incomplete human body, obliquely evoking the destructive effect of time on the lives of the humans who had once inhabited this ruined space. A second student, who was translating the section of the poem in which the poet imagines the revelry of the former inhabitants of the city, picked up on the homosocial tone in which this revelry is described in the Old English and re-imagined it with a very contemporary twist, describing how "long ago/Legions of men glowed… /Glorious and brazen in the brilliance of their beer-jackets." The initial discussion which this student had with his peers about the term "beer-jacket" – a very colloquial, British English compound noun denoting the way in which getting drunk causes one to feel insulated from the cold – was very revealing. The student had decided that the atmosphere of his extract was, in his own words, "lads in"– it was about the fun of looking back through a hangover on a boys-only night out drinking. This is an obvious interpretative response to the "beorn monig" (many a man) who are "wlonc ond wingal" (proud and wine-flushed) in his extract from the Ruin, a response which uses his own cultural and social experiences and identity as a way of conceptualising what he sees happening in the Old English text. In part, using a very colloquial word like "beer-jacket" in his translation was a way of getting this tone of fun and friendship across. But this student was also worried – was a slang term like "beer-jacket" too much of an "imposition" on the Old English poem? Had he gone too far with a piece of "serious" Old English literature?
The discussion which followed showed the students really having to reflect on the broad implications of precise lexical choices in translation, weighing up the different responsibilities a translator has – do they convey the exact word, or the sense, and which is the "better" translation? Should a translation change its source text, and if so how much? Why might it feel like a betrayal or an inappropriate action to use a term like "beer-jacket" when translating an Old English poem? Is this feeling critically justifiable? In paired discussion, this student and his partner (helped by their second-year peer-teacher) ended up building a strong case for the ways in which the slang term "beer-jacket" actually could creatively bring to life the homosocial atmosphere of this section of The Ruin, while simultaneously making a contribution, in a formal sense, to the building of a poetic style and sound which preserved something of the Old English text's distinctive metrical and linguistic features (in this case, contributing to an alliterative metrical scheme, and forming a compound noun like those found in Old English poetry).
Developing the complexity of students' approaches to translation as a discipline, the class discussions provided intriguing evidence that undertaking creative translation led to a conceptual turning point for the group, not just in terms of the ways in which it enabled them to enhance their understanding of Old English poetry and the ways in which it is constructed, but also in terms of their approaches to translation as a critical discipline. In our preparatory class on Deor, the students as a group were on the whole rather suspicious of the value of translation as a creative activity. Although they did acknowledge that translations can and do change source texts profoundly, and that translations therefore exist in tension with their sources, the group almost uniformly conceptualised this change as negative or detrimental, something which damaged an original or took away from it, and was inevitably inferior to it. This determination was borne out in the final part of the class when they were asked to discuss Simon Armitage's Deor as a specific example: not a single student found anything they thought was positive or interesting to discuss about this translation; almost every element to which the tutor drew their attention was compared negatively to the Old English poem. The students' interpretation of the features that they noticed oscillated between a sense that Armitage had betrayed or damaged aspects of the Old English text, and a sense that the Old English poem itself was in any case too unsophisticated to give rise to praiseworthy contemporary poetry. So, Armitage's choice of the term "soul-mate" to translate the Old English "gesiþþe" (companion) was seen as wildly inappropriate when translating an Old English poem, but his decision to translate using a four-stress alliterative metre very like that of Old English verse was not popular either. Indeed, one student dismissively described Armitage's Deor as sounding "like a nursery rhyme," a judgement which seemed to suggest both a sense of banal formal repetitiveness and extreme simplicity of tone and content. A firm group consensus swiftly developed that he should have used a more "modern" – and, by implication, more sophisticated – poetic form. This conservatism towards poetic translation was an attitude which was reflected in part in the interviews we conducted with the group: one student, for example, was very insistent on the superior value of traditional kinds of literary engagement, and felt that translation should not supplant these (or, implicitly, supplant study of the original texts) within the English literature syllabus as a scholarly exercise. This was the same student as the one who had decided to use the term "beer-jackets" in his translation – and, as we have seen, a very similar concern about imposition and the appropriateness of using this term also came through in his discussion of his translation with his peers. It was only after he had received encouragement and approval from his peers, peer-teachers and the tutor that he was willing to take ownership of "beer-jacket" and use it, despite its real appropriateness for the kind of things he wanted his translation to communicate. The process by which he worked through this, and the concerns which he felt about his conflicting desire to use this word, but also to remain in the realm of what he thought was an appropriate way to translate an Old English poem illustrate the way in which being put in the position of a literary translator caused students to perceive the creative and interpretative potential of translation differently. In the same way that reproducing the sounds of Old English poetry seems to have provided students with a greater awareness of some of the formal features of that poetry, having to produce a piece of creative translation prompted students to understand the complex choices which translators must make more fully, from the inside. Indeed, undertaking creative translation seems to have materially altered the students' sense of how sophisticated and intricate certain formal features can be: despite the fact that they had roundly critiqued Armitage's use of a four-stress alliterative line in his Deor-translation, when they came to write their own translations, two thirds of the group in fact opted to do the same, and pointed to this very feature as one of the distinctive things they most valued about Old English poetry.
The small-group discussions in particular provided a very helpful place for the students to articulate, interrogate and re-examine their concerns about translation as an art form. One began the discussion of his translation by focusing on what he felt was lost from his extract in his translation. When the peer teacher asked him to think, conversely, about what was gained as well, though, he began to do so, and the group then had an interesting discussion about the effect of changing particular words within his translation, posing questions such as "Shall we think of a different way to say that? What would be the effect if we changed that word? Would it be interesting to change that?" In the course of the discussion, the students moved from a position where they saw translation simply as a loss, to one where they could also appreciate that it involves a gain, and think about what is brought to a translation by different creative choices.
Nonetheless, at the end of their small-group discussions, some students still called on the expertise of their second-year peer-teachers to help them evaluate how accurate their translations had been. They asked the peer-teachers to tell them what the real sense of The Ruin actually was, clearly with the aim of comparing their own work to accepted or standard ideas about the poem's real signification, and thus (implicitly) the right way to translate it. They seemed to have been searching for the established scholarly and academically-sanctioned interpretation of the poem from their seniors, the second-year students, who they knew had access to this knowledge, having studied Old English the year before. Interestingly, the second years did not enlighten them; rather, they turned the question on its head, and asked the first years if they thought their translations had created a new sense for the poem, and what that was. The first years responded positively to this question, discussing how they thought their translations compared to each other, how they could be fitted together, and what that new poem would be about. This discussion continued when we talked about titling the whole composite poem, and the group came up with the title The Mourning After the Empire Before. This punning title reflected the range of interpretative lenses which the students had brought to The Ruin through their individual translations: the feeling of mourning a lost empire, of awe at the destructive power of time and the power of the natural world, and of re-living the vivid emotions and experiences of a night out on the tiles (ie., partying) through a hangover. Both elements of the task – writing their own creative translations, and discussing them with their peers in small groups – helped the first years to think far more flexibly about how their translations brought different meanings to the poem, rather than how they now should measure what they did (and, by implication, what other, published translations, both of Old English and of other texts, do) in the light of a pre-existent and rigidly determined sense of right and wrong, accurate and inaccurate, original and imposition.
and blown down what giants built up.
the towers are fallen in.
and the gates are gap-toothed.
and time has picked them.
Rotting away, the earth succumbs to ruin.
Broken and demolished into mounds of rock.
In the brilliance of their beer-jackets.
Where the glinting heart once gurgled.
 We discuss here our experiences with teaching Old English; we completed a second stage of research using a similar technique with fourteenth-century Middle English alliterative poetry, which we plan to evaluate in due course. A fuller account of our findings in relation to Old English than we are able to give here will shortly be published; see Helen Brookman and Olivia Robinson, 'Creativity, Translation and Teaching Old English Poetry', Translation and Literature 25:3 (forthcoming November 2016).
 For a discussion of precisely this problem in the teaching of Old English, see e.g. Allen J. Frantzen, Desire for Origins: New language, Old English, and teaching the tradition (New Brunswick and London: Rutgers University Press, 1991).
 We encouraged students to "be as creative as you like" in their translations; in the end, all produced a piece of written poetry rather than (say) a song, some music or a piece of visual art.
 Specifically, Michael Alexander, 'Old English Poetry into Modern English Verse', Translation and Literature 3 (1994), 69-75.
 Deor, trans. Simon Armitage, published in The London Review of Books vol. 35.4 (February 2013). For the Old English Deor, see the Anglo-Saxon Poetic Record text online at: http://faculty.virginia.edu/OldEnglish/aspr/a3.20.html, accessed 11 February 2016. Further examples of contemporary creative engagement with Old English verse, and discussion of contemporary poets' perspectives can be found in The Word Exchange: Anglo-Saxon Poems in Translation, ed. Greg Delanty and Michael Matto with a foreword by Seamus Heaney (Norton, 2010).
 For The Ruin, see Anglo-Saxon Poetic Record version online at: http://faculty.virginia.edu/OldEnglish/aspr/a3.33.html, accessed 11 February 2016.
 For the highly informal register of "beer-jacket", see e.g. The Urban Dictionary's entry for "beer-jacket," http://www.urbandictionary.com/define.php?term=beer+jacket, accessed 11 March 2016.
 For the full text of the students' poem, see Appendix 1.


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Home Universal Studios Hollywood Taste of Universal officially begins at Universal Studios Hollywood
Taste of Universal officially begins at Universal Studios Hollywood
After nearly a year passed since the theme park closed, Universal Studios Hollywood officially reopened its gates on March 12 to welcome guests back in for their inaugural food tasting event, Taste of Universal.
Running Friday through Sunday each week from March 12 to April 11, Taste of Universal grants guests the opportunity to walk through the Upper Lot of the theme park – as well as down the first Starway escalator for a beautiful view of Los Angeles – shop at many of the available stores, and enjoy up to five different food offerings from select locations for outdoor dining; three for young ones with a child's ticket.
As listed above, Krusty Burger, Lard Lad Donuts, Suds McDuffs, Three Broomsticks, the Butterbeer carts, Minion Cafe, Hollywood and Dine, Tower Snack, Cocina Mexicana, DreamWorks Concessionaire, City Snack Shop, and the Popcorn Cart near Animal Actors consist of all of the food locations available during this event. Minion Cafe and City Snack Shop are two new additions to the park that opened with this event, with the former serving as a replacement for Gru's Lab Cafe near the entrance to Despicable Me: Minion Mayhem, and the latter replacing the in-park Cinnabon to merge into the Pets Place themed area.
Outdoor seating can be found all across the Upper Lot in locations including the currently Fast & Furious-themed Universal Plaza, the area in front of the performance stage in the Wizarding World of Harry Potter, and the entrance to The Simpsons Ride, to name a few. Most outdoor seating areas used during regular park hours in the past are also being used for the event now to meet attendance needs, with the exception of those found on the Lower Lot.
Beyond the food, guests will find a number of socially distanced character meet-and-greets and additional photo opportunities scattered across the park, such as Homer Simpson in front of the Kwik-E-Mart, a Minion by the photo-op façade for Miss Hattie's Home for Girls, and the Hogwarts Express train conductor in his usual location near the entrance to Hogsmeade. Team members in white vests can even be found frequently wiping down popular photo spots to best ensure cleanliness and ease anxiety among any nervous guests.
Now that we have gone through most of the details, we'll offer you our full review of the event: Suffice to say, for any local Universal Studios Hollywood fan, Taste of Universal will feel like a dream. Since California state and county guidelines have mostly barred the operation of theme parks over the past year, there was a sense of hope in the air as guests were officially welcomed back into the park, albeit without rides, shows, or attractions operating.
Simply seeing the smiling faces of joyful guests and team members was enough to make the event a truly special one for me personally. I found that the price of admission to Taste of Universal – $48.18 on Fridays, $54 on Saturdays, and $49 on Sundays – is fully justified by the amount of food one ticket offers, since most items were a full portion listed at the price of $10 on their own normally. Between me and the family member I visited with, 10 food items was more than enough, and I even ended up using one of my options to bring home a giant Lard Lad donut.
Sideshow Bob Footlong
Beignets and hot chicken sandwich
Sticky toffee bread pudding
Loaded nachos from Minion Café
Chocolate and strawberry dessert crepe
With capacity limitations in place, crowds were relatively light during the day and most guests appeared to be doing their best to keep their distance from others and wear a mask properly. Of course, visiting any place with people outside one's household comes at a risk at this time, but we found that Universal mitigated that risk to the best of their ability and still managed to produce an enjoyable event well worth a visit. Though passing by the brand new The Secret Life of Pets: Off the Leash! and other attractions currently not operating was definitely a tease, it is also a promise of what is to come in the increasingly nearer future as case numbers decline and vaccinations increase.
We were thrilled to walk through the iconic arch to Universal Studios Hollywood once again and are beyond ecstatic to see things starting to look up. For those who feel comfortable visiting a theme park right now, we cannot recommend Taste of Universal enough. If you have not yet purchased a ticket for the event and would still like to go, some event dates were recently added (April 9, 10, & 11), but we advise you to make a purchase as soon as possible, as the event does appear to be selling out quickly.
Stay tuned to Inside Universal for updates on Universal Studios Hollywood and their future reopening plans. We wish you all well as always and look forward to our next visit to Taste of Universal.
krusty burger
Minion Cafe
Taste of Universal
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redpajama_set_name: RedPajamaCommonCrawl


All datanodes are listed as down in Ambari but hdfs is healthy and we can browse hdfs filesystems.
ISSUE: All of the datanodes in the cluster are shown as down in Ambari dashboard but hdfs is up, available and healthy.
SOLUTION: This issue is resolved in Ambari 2.2.2.0.
3. Edit the /usr/lib/python2.6/site-packages/ambari_agent/PythonReflectiveExecutor.py script and make the following changes.
ROOT CAUSE: In this particular case the installation of additional python modules via 'pip install unixODBC-devel' resulted in ambari cached hdfs.py conflicts with python hdfs libraries. This issue is outlined in the following bugs reported by Hortonworks and Apache.
HDP Upgrade: Hive Metastore restart fails with "ValueError: time data '2017-05-10 19:08:30' does not match format '%Y-%m-%d %H:%M:%S.%f'"


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Q: Knockout.js validation fails with a type="number" input field I have a form that contains this input field:
 <input type="number" name="price" data-bind="price">

And this knockout validation definition:
 ...
 price = ko.observable().extend({required: true, number: true})
 ...

The problem is that when I enter a non numeric value the browser actually sets the value of a type="number" field to an empty string (internally) so the model receives an empty string. Due to this the knockout validation mechanism always triggers the 'required' validation even though the user sees a value in the field. It would be better to trigger the 'please enter a number' message instead of the 'this field is required' message.
I could of course use a type="text" but that triggers the wrong keyboard on mobile devices. Any ideas how to solve this?
This is of course related to this issue: HTML5 input type=number value is empty in Webkit if has spaces or non-numeric characters?, but using a type="tel" is not an option for me unfortunately.

A: This is awkward, because as the answers to this question reveal, browsers do not expose the 'raw' text value of HTML5 numeric inputs, and return an empty string as the element value in the case of both invalid and null inputs. You therefore cannot reliably differentiate between non-numeric and missing values - which is ultimately what your error messaging requires.
You can't even sniff for keypresses and see if users enter invalid characters that way, because you don't know if users copy/paste invalid content.
In the past I have written custom bindings that create text inputs and coerce them to numbers, but these will have limitations like bringing up the wrong mobile keypad, as you acknowledge.
It's disappointing, but I can't think of a solution for this problem.

redpajama_set_name: RedPajamaStackExchange


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08/31/2017 08:25 am ET
Los Angeles Replaces Columbus Day With Holiday Celebrating Indigenous People
Other major cities, including Seattle and Denver, have passed similar ordinances.
By Dominique Mosbergen
The city of Los Angeles will no longer mark Columbus Day on the second Monday of October.
Following a near-unanimous vote by the City Council on Wednesday, Angelenos will instead celebrate Indigenous People's Day on Oct. 9.
The council voted 14-1 to replace the controversial holiday at a hearing attended by many Native American activists, as well as Italian-American residents seeking to conserve Columbus Day. Councilor Mitch O'Farrell, who introduced the motion, said the council's decision would help to "right a historical wrong of epic proportions."
"The historical record is unambiguous in terms of the atrocities that Christopher Columbus himself, and his men, enacted on Latino native peoples," O'Farrell said at an earlier City Hall meeting, according to CBS Los Angeles.
With the vote, Indigenous People's Day has replaced Columbus Day as one of 12 paid holidays for city workers in Los Angeles.
Oct. 12, the arrival date of Genoa-born Columbus in the "New World," in 1492 under the auspices of the monarchs of Spain, has been designated as Italian American Heritage Day. The occasion is "to recognize the contributions of Italian Americans to the history and culture of Los Angeles," however, it will not be a paid holiday.
The Los Angeles Times reported that Wednesday's hearing was a "fractious" one with clashes between the Italian-American contingent, who lamented the motion as an affront to their heritage, and the Native American activists, who described Columbus Day as a "state-sponsored celebration of genocide of indigenous peoples."
This is a pretty intense day at City Hall: Lots of heated arguments in the hall as people face off over renaming Columbus Day.
— Emily Alpert Reyes (@LATimesemily) August 30, 2017
Prayer and ceremony held inside city hall in support of council recognizing #IndigenousPeoplesDay in lieu of #ColumbusDay. @KABCRadio pic.twitter.com/q02ZTfHtZO
— James Rojas (@JamesRojasKABC) August 30, 2017
Los Angeles is not the first major American city to choose to replace Columbus Day ― which is still a federal holiday ― with a day recognizing indigenous communities. Seattle, Phoenix and Denver, among others, have made the switch. States including South Dakota and Vermont have enacted similar changes.
Los Angeles votes to replace Columbus Day as a holiday
The Truth About Columbus Day
9 Columbus Day Memes That Are Hilariously Woke
Let Columbus Day Remind You Of The Discrimination Native Americans Still Face Today
Some Places Are Celebrating A Different Holiday On Columbus Day
Dominique Mosbergen
Senior Reporter, HuffPost
Los Angeles Ethnic Holidays Columbus Day Christopher Columbus


KeepFresh will give you 3 months protection from harmful ethylene gas in your refrigerator.
At the end of 3 months simply replace the used KeepFresh sachet inside your green cartridge with a new KeepFresh refill sachet.
KeepFresh is so simple to use. All you have to do is simply place the green KeepFresh frigit into your vegetable drawer to reduce you fruit and veg wastage by up to 80% and save hundreds of dollars per year.


text:
ACCEPTED

#### According to
The Catalogue of Life, 3rd January 2011

#### Published in
Flora, Jena 68: 296 (1885)

#### Original name
Pertusaria excludens Nyl.

### Remarks
null

redpajama_set_name: RedPajamaGithub


Description This large openwork bead made of blue faience has on either side five different goddesses, each identified by a headdress. The hollow space between suggests the two sides of the plaque were made in identical moulds and joined before firing. Perforated lengthwise.
Jewelry - Ancient to Modern. The Walters Art Gallery, Baltimore. 1979-1980.
Provenance Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.


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"I heartily recommend that subscribers make a small but invaluable investment in purchasing a copy!"
Thank you for this thoughtful email which Eoin and I very much appreciate.


text:
The Cat Empire gave their all for a stunning Melbourne Zoo performance
"This was an audience getting ready to spend an evening with old friends, whose music just so happened to have soundtracked their lives for close to 20 years."
Review: The Cat Empire & Allysha Joy at the Melbourne Zoo Twilights, February 3 2018
By this point, punters have come to know and love Melbourne's Zoo Twilights series, with some of the finest Aussie musicians descending upon the picturesque location to give dedicated audiences a night to remember. Of course, last night's performance by The Cat Empire was no exception to the rule, clearly serving as an early highlight for this year's concert series.
As Melbourne Zoo slowly filled up with families and music lovers, the evening's vibe was already much different to normal performances held at the zoo. This wasn't an audience turning up to see a huge international act showcase their talents on the stage, no, this was an audience getting ready to spend an evening with old friends, whose music just so happened to have soundtracked their lives for close to 20 years.
Kicking off the evening's entertainment, punters were given a chilled out session of good vibes and soulful tunes from Melbourne's own Allysha Joy. With smooth, strong vocals, and a performance style that evoked images of a smokey jazz bar, this fantastic musician stunned the audience with her eclectic, jazzy performance.
As Joy's set continued, her infectious stage presence began to spread out into the crowd, with the audience increasingly enjoying her hypnotic performance style, and tunes full of worldly, socially-conscious lyrics. Soon enough though, it was time for this wonderful performance to cease, and having eased all in attendance into the evening's performance, Allysha Joy truly had served her purpose, becoming a wonderful primer for all the action that was set to follow.
Before long, the stage became filled with various instruments whose mere presence piqued the interest of many in the front row. However, any questions that were being raised were soon answered, as the collective known as The Cat Empire took to the stage as cheers and riotous applause filled the air.
Almost instantly, every member of the audience was on their feet, dancing with boundless energy as the sounds of the group's hit 'Wolves' washed over them, singing along to almost every word as if they were witnessing the band's early performances in Melbourne's jazz clubs.
Up on stage, the band were clearly in their element, as Felix Riebl's affable nature made him a clear crowd favourite, while the highly-accomplished trumpet playing and inimitable vocals of Harry James Angus rang out into the air with a dedication rarely seen in performers today.
As the night wore on, countless families continued to dance in almost every available space of the grounds, leading to Riebl making a comment on the all-encompassing make-up of the crowd, noting that tonight's audience consisted of "everyone who knew The Cat Empire back then, and their children."
While the audience sang along and danced with countless hits from the group's back catalogue, including 'Bulls', 'Brighter Than Gold', and 'The Chariot', and plenty of fan-favourites, such as 'The Wine Song', 'The Darkness', and 'Daggers Drawn', the band continued to impress with their highly-acclaimed, expert abilities, turning the evening into something akin to a masterclass of professional musicians.
Sadly, to the dismay of some in the crowd, the band chose to eschew performing some of their bigger hits, including 'Hello', 'Sly', or 'The Car Song', but to many others, their absence in the setlist was hardly an issue at all, with almost everyone in attendance heading for the exists in discussion of the brilliance they had just witnessed.
With The Cat Empire getting ready to celebrate 20 years of existence next year, some could be forgiven for thinking that a band such as this could begin to dip in quality as the years pass by. However, if last night's performance proved anything, it's that not only do The Cat Empire keep on getting better, but their phenomenal live performances show a band very clearly in their element, which only makes their fans more excited for what the next 20 years will bring.
Check out The Cat Empire's 'The Chariot':


This dissertation provides a theoretically grounded framework for investigating "legal rhetoric." By making a distinction between the discursive elements of a Legal system and the broader rhetorical notion of Law, rhetorical critics can better understand the interdependent relationship between citizens, their legal structures, and their cultures. The Legal system represents the forum in which legal disputes are addressed. In contrast, the Law signifies the principles of justice and fairness that give rise to legal disputes addressed by the Legal system. This dissertation emphasizes the important role that media play in disseminating information about specific legal disputes and providing citizens an opportunity to reflect on which principles of justice and fairness are to be valued. This study specifically examines the text, reasoning, and media coverage of Gratz v. Bollinger and Grutter v. Bollinger, two U.S. Supreme Court cases related to the University of Michigan's use of racial classifications in its admissions process. By comparing which arguments and rhetorical elements from the Supreme Court's 2003 decisions were reported in the press, this dissertation both demonstrates the rhetorical concepts of the "Law" and the "Legal System" and suggests how citizens and rhetorical scholars can more fully critique legal texts.


What a fabulous adventure on the Morocco camping tour. The driving was brilliant and gave us a chance to have lots of fun over lots of different terrains. Morocco is a fabulous country and we were able to see the full beauty of the mountains, the dried river beds, stony climbs and beautiful steep winding roads. Russ was a very professional guide and a great tour leader, who provided a fantastic holiday with the right amount of challenge and unpredictability whilst keeping us all safe and organised!
What an amazing day. I did the ladies day experience consisting of a morning of theory and the basics of driving a 4×4. Lunch, then an afternoon of putting what I've leant into action. Extremely well organised and delivered. I had such a fun filled day and in all honest I'm already considering my next adventure with Ardent Off Road. Thanks for a great day!
I would like to thank you so much for our two weeks in the Spanish Pyrenees. We stayed in some great places, drove some challenging routes, met some welcoming and wonderful people in Spain, saw some mind-blowing landscapes and views, and enjoyed the natural wonders of the area, all with a fantastic and supportive group of travelers, and an enthusiastic leader.
Thank you so much. The trip challenged us but we managed it with your help.
We would just like to say how much we enjoyed the Morocco Adventure 2017 and appreciated all the thought and planning you had put into the tour, your sense of humour and banter. We would like to pass on some of our thoughts.
Having crossed to Santander and with full tanks and rested, we headed across Spain to the architectural beauty that is Salamancha – meet for tapas where there is a ham in the window! We then wound our way back to our hotel. The next morning off to Algeciras and the crossing to Ceuta; the following day and we were through the border and in Morocco – our first visit to Africa.
We were met byt the 'buzz' of the place with life being lived to the full – chatter, bartering, friendliness of the people, guards for our cars a night.
The best part of the 'adventure' was the next 10 days, when we wound our way around so much of Morocco, with little use of main roads. The blue city, the Relais de Marrakech and the Souk in the day and a night; the supermarket where the sparrows were helping themselves to the pasta! The UNESCO at Vollubillis.
Parts of the northern cities were more or less European, although this changed as we went south, but most of our time was in the countryside with shepherds everywhere with their sheep like Biblical times and in the mountains and best of all the off-roading up hillsides only donkeys could go up, sheep and mountain goats – and we went up them!! – boulders, river beds, washouts – one straight through the middle of a village! Peaks and troughs and we did them all. Near Tata we saw camels roaming. We stayed in Moroccan Rhiads, some quirky, which all added to the sense of adventure – and Russ and Libby, you had arranged them all. Russ your expertise and intuition knew when to get us out of a river bed when thunder threatened. You picked scenic spots for our daily brew-ups and the scenery on top of the Atlas Mountains looking down on clouds from 23000m was spectacular.
Sharing the 'adventure' with 6 great off-roaders (including 2 Simons!) made the trip all the more enjoyable, also the Moroccan people themselves.
An 'adventure' it truly was – each day something different and most of all it was great fun.


Currenex 11.0.7 is scheduled to be released to the Beta Retail (BRET) environment on Friday 11 July 2014. Maintenance will begin at approximately 1:00 pm EDT and last until approximately 4:00 pm EDT.
Currenex 11.0.7 has a tentative Production Retail (PRET) release date of August 2014.
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Aside from the tissue, there are no other fillers in the box.
New from Hannah Viano, the author/illustrator of S is for Salmon, a PNBA best seller, comes the story of Arrow, a six-year-old boy who goes on an adventure to visit his grandfather in Alaska. Arrow starts off from the Ballard Locks in Seattle, aboard Aunt Kelly's salmon tender boat. After arriving at Grampy's quirky houseboat, Arrow and Grampy revel in each other's company in the great outdoors. The tale wraps up with a floatplane ride retracing Arrow's journey. Hannah Viano's striking papercut images capture whimsy and wonder, while her language sparkles.
The image of the sea and ships at the back cover added life to the synopsis, that it made us read the book right away.
It's an impressive work of art. The papercut illustration is stunning, supporting the expanding storyline. It got my kids to stick with it until the end.
It's an absolutely whimsical book! It has a warm and gentle story imbued with a sense of adventure! Who wouldn't be intrigued by a floating house, a sail aboard a salmon tender, and a sea plane? Everything about this book made us want to take off on an adventure of our own!
The lines at the rear cover talk about how Izzy takes notice of the butterfly feelings she experiences when certain events happen. Each butterfly feeling has a different meaning whether it's from nervousness, excitement, or fear.
The story is woven in verse and shares Izzy's unique sensibilities and view of the world as she navigates life's big and small moments.
Izzy Klein is a character who is easy to love. She is an image of how a 4th grader experiences a series of small, but important moments. We were rooting for her as we read how she faced each new challenge with pluck and determination. The story told us that there are many reasons to get butterflies, and not all of them are bad!
Dead Air is an excellent beginning to a new middle-grade paranormal fiction series. The cover is a mystery itself that will keep you guessing.
Kat was a lot of fun! Mi Jin, Oscar, Jamie and the rest of the crew of the show are the characters my kids enjoyed getting to know and they are looking forward to reading more about them in more books!
This book is super fun and gives just the right amount of creepy. My kids loved the idea of going behind the scenes of "the most haunted show on television." It's also amazing how each chapter started with a Wikipedia entry, forum post, blog post, email etc. It's very well-written and filled with humor, drama, suspense and plenty of ghostly activities!
All three books tell engrossing and compelling stories. My kids couldn't put them down until they read them from cover to cover and I could tell that they were enjoying all the while. They relayed how the books surprised them in every turn and how they admire how the authors created enduring heroes as all of the protagonists faced struggles and conflicts during their adventures. Arrow to Alaska contains beautiful pages while Dead Air and Izzie Kline Has Butterflies are filled with wonderful verses and lines that made them all worth reading.


After months of searching and thinking, Nepali actress Richa Ghimire and her director husband Shankar Ghimire have finally decided on the name they would give to their son. Richa's son will be called Mizas Ghimire and the nickname they have chosen is Rio. The name sounds nice.


text:
NEWS ANALYZES
NICKY VERSTAPPEN
THE SIMULATION
NEW INSIGHTS
MIND & SOUL CONTROL
DIRECT (without PayPal)
The climate agreement: stealing the people in a nice jacket
Filed in NEWS ANALYZES	by Martin Vrijland	on 29 June 2019	• 16 Comments
source: persgroep.net
You just have to laugh at the sophistication with which the people are robbed under the name of the 'climate agreement'. The Orwellian new speech in particular is masterfully chosen. That's how you do that: ,,We are going to tempt everyone to participate. That does not mean that things are not going to change. But we have 30 years for those changes, a generation. ''
Everything is turned around in Orwellian news. Examples of this are: compulsory volunteering, peace mission (sending troops into the war), mental health care (imprisonment and medication administration) and many others. But this statement is also a brilliantly chosen Orwellian statement: "We are going to seduce everyone". In practice that means of course as much as: 'We are going to punish everyone who does not participate.
We see that later in the same article of the AD:
Yet the aim of the Climate Agreement is to emit nearly half as much CO2030 in 2 in eleven years than in 1990. To this end, the Cabinet will present a list of measures, such as an increase in the price of gas and a decrease in that of electricity. There will also be subsidies and loans for heat pumps and the insulation of houses.
But exactly how everything will look will have to be worked out in the coming period. Now the cabinet is mainly opting for soothing words. For example, Minister Kajsa Ollongren (Living) says that everyone is free to decide for themselves how much they want to do with their home. ,, People who want to make some small changes can get advice about this in the short term. It may be that you can adjust your boiler much better. "
Ollongren is more cautious about the major blow that homeowners have to take - by insulating their homes or by getting rid of the gas. ,, Is your roof not well insulated? Then you can probably get a subsidy for that. "" But how much subsidy and under what conditions remains a question mark.
It is clear that there will be a national heat fund from which people can borrow up to such an 25.000 euro to make their home more sustainable. Anyone who does not want to borrow such an amount of money or to pay for this investment out of their own pocket, will be spending a lot more on energy costs due to the rising gas tax in a few years' time.
Anyway it seems smart to wait until the end of 2021 with a major renovation. Then all municipalities must have made a plan for the energy supply in neighborhoods. Heat networks will be installed in large cities in particular. For houses that are connected to it, the boiler can leave the house. "You don't need anything right now," says Ollongren.
The first paragraph therefore states that the price of gas is going up and electricity is becoming cheaper. If we are realistic this means that you have to renovate in order to switch from gas appliances to electric. That costs you anyway money and if, for example, the gas rises 90% and electricity falls only 1%, you have not lied as a minister, but everyone on balance still loses more. If, in addition, the efficiency of electricity with, for example, heating a house is lower, you will therefore have to purchase more electricity and on balance you will also lose more.
The second paragraph contains a hint of the obligation to hire a consultant who will assess your house for necessary changes. You can say that this will cost money and that it will be mandatory to have such an official report drawn up. Cash desk!
In the third paragraph, a cloth for bleeding is already offered in the form of a grant to be determined. However, we can already assume that that subsidy will only bear part of the costs of the changes that you are likely to have to implement (after you have hired a mandatory energy consultant who will impose some mandatory changes on you).
Subsequently, a large pot of tax money is reserved for a national heat fund from which people can borrow money to implement these imposed changes. That, of course, will be a loan at a certain interest rate, and this is how the people are thrown at their throats: "You do not have to change, but then your tax will increase considerably. If you want to change, you must have an official report prepared and you can get a little subsidy, but above all borrow a lot of money". In short, people are forced to pay extra in debt and they have to pay left or right. By who? By the mob.
In the area of driving, everything is made more expensive and changed. Just read for a moment:
The government would like the Dutch to switch to electric cars. That may also be a second-hand car, for which there are favorable subsidy schemes. In the original climate plans, a purchase subsidy of 6000 euros would apply to new plug-in cars, but that subsidy has been canceled.
The new purchase subsidy 'is to be determined', as the Climate Agreement now states. In short: people who want to buy a plug-in car in the coming years, do not know exactly whether this can be done. That the amount will be a lot lower than 6000 euros, seems to be certain.
Here too, the government says that Dutch people are not obliged to dispose of their petrol or diesel car. No, it's not necessary, but it does cost some motorists extra money. Because the excise duty on diesel will be increased step by step in the coming three years.
The new purchase subsidy is further specified. In short: "you don't know what you get to buy such a car, but it becomes mandatory". Well, you still have the choice to drive gasoline or diesel, but then you just go nice lot pay more. Of course, paying a lot more happens in "steps", of which we can all think that in practice it will be seven-mile boots.
In short, you have been considerably played with the CO2 climate hoax last year with just one clear reason: Creating an alibi to be able to steal even more money from the people.
It is remarkable that the announcement of the climate agreement comes in a week that the hottest days of June have been spoken of for a long time throughout Europe. We are not going to talk about the technology that is needed to influence the weather. The majority of them do not, under the guise of 'conspiracy theories'.
Where are the proofs that show the positive effect of all those energy changes? For example, the production of batteries for electric cars is a major disaster for the environment, and there are many efficiency issues related to the switch from gas to electricity. And what is the environmental impact of the production of all kinds of insulation materials?
We are once again witnessing a wonderful example 'Problem, Reaction, Solution', where a self-created problem in the media and politics is hyped; the reaction among the people is fueled by the same propaganda machine; to then push the (very expensive) solution through the throat of the people.
CO2 is a necessary component in the atmosphere that is used by trees and plants to make oxygen. It is in such a small amount in the atmosphere that it is harmless and CO2 is an increase in the known measurement values (from the short period of time that these measurements take place), rather a consequence of increased solar activity than a cause of global warming. You could discover this by doing the necessary research. However, the internet has become so full of deliberately created desinfo that the media are trying to win you back through the false pretext of fake news and the illusion that they are still telling the truth. The controlled opposition now serves as a safety net. Once the fish are hoisted aboard the opposition safety net ship, that ship is sunk and the drowning people are lifted back on board the mainstream media and the old political order.
So if you get angry with messages like the one about the climate agreement, remember that you should no longer expect the change from above. The robber gangs in The Hague and Brussels are not there to help you. They only play the appearance of democracy, through the game of left and right, conservative and opposition. So you have to make the change yourself and take action. read here how.
Source link listings: ad.nl
Do the media work with script writers and do they sell PsyOp operations as they do with TV shows?
We cannot solve the problems in the world through thinking and talking, but in this way:
The maxim Problem, Reaction, Solution explained
Michael P. Thijs H. Jos B. all media murder cases lead to rapid introduction of horror legislation that affects everyone
PowNed put Poelenburgse vloggersrel in scene with actors, extras and directing
Tags: featured, Kasje, climate agreement, to lend, loan, minister, national, Ollongren, heat fund
Jaline Bies wrote:
29 June 2019 on 13: 20
If I have listened to a trick, we may first pay tax and then borrow the paid tax money, hmmm sounds logical anyway.
The nonsense that she and the cabinet are getting crazier every week. If you think you've heard everything, they have made up something new.
In addition, the state cars in which they are allowed to drive are already completely electric, has their house been made climate-proof to the finesse?
Riffian wrote:
With the relaxation of euthanasia legislation we can drastically reduce CO2 emissions. And thanks to the D666 legislation on organ harvesting, it is also sustainable, two birds with one stone.
..you have already ordered Sarco to contribute to a better environment, because a better environment starts with you 😀
"In which you can slip away peacefully at any place"
SalmonInClick wrote:
exactly riffian it is a disguised depopulation agenda under the guise of 'nature conservation', but yes, go and explain that to the average madurodam resident ..
Sun wrote:
Even if you explain it, the common people won't believe it. That is a conscious choice of them!
Ah, today they are sitting on the beach in this warm weather. The sun is shining, beer is cheap, summer has begun. Men, women etc can hunt for each other.
Who then lives .. oh as long as the hostile immigrant 'elite' slowly burns the fire in the pan, the ordinary population keeps simmering in it.
The climate agreement is of course a disguised trade barrier because poorer EU countries also have to participate and the question is whether they can afford it. So they are actually ISO standards. Long live the 'free' competition between the EU countries, quod non because it does not exist.
Camera 2 wrote:
And here again the controlled oppostion Patrick Moore, the double bottom, first he sets up the LGBTQ Logo Greenpeace together with a few so-called green journalists, and then he can later conduct the controlled opposition against Greenpeace, how nicely ingenious this has been done.
Patrick Moore the masterly move in the controlled opposition profession
And here the German who massively lied to everyone with his rainbow logo,
It is a long slow agenda that we see unfolding here.
Well, "German". That is their hideous nationality.
SandinG wrote:
The rainbow logo is an indirect reference to the kabbalah, freemasonry / new age etc find its nauseous origin. So it's Babylonian Jewish mystical doctrine that pushes everyone around the world.
Kabbalah and Meditation for the Nations
The first documented rainbow is in the Biblical story of Noah, who survived the flood that destroyed the world's population due to its transgressions. The rainbow - "my rainbow in the clouds" - serves as the covenant between Gd and "all living souls," reminding Gd of his promise after the flood never to destroy the world again, despite its sins. Why a rainbow? What is unique about the rainbow that makes it a sign of peace?
an act that goes against a law, rule, or code of conduct; an offense.
I'll be keeping an eye out for further transgressions (An eye symbolism)
The LGBTQ agenda is therefore a deliberate part of "Redemption through sin"
Here an even better documentary about the world of the usual suspects and how it is intertwined with the monarchy.
Explained the feeling of guilt ..
7 July 2019 on 11: 23
When do the dark Dutch receive full compensation for slavery committed by the boys of the script? Of course at the expense of the boys of the script and not of the normal population. When does an immigrant lawyer stand up with balls to fight for that compensation for obvious human rights violations, there is no prescription or the boys of the script ensure that a judge of the boys of the script determines that. That immigrant lawyer will unfortunately not stand up, afraid of being flicked out of the order of lawyers. And status is probably more important to him / her than doing the right thing.
The "irony" is that the descendants of the boys from the script present themselves as champions of the dark Dutch. Yes They play smart They first enslaved them and earned them well and now as so-called 'protectors'. You always see this strategy reflected in every policy in Madurodam. And the common people take those nasty games.
white rabbit wrote:
Very good article, with all measures CO2 emissions are not reduced at all but moved to other countries such as China. Nobody talks about the extra CO2 emissions from the production of electric cars, nobody talks about tree felling due to biomass plants. They certainly produce CO2, but that is not included.
And then we are not yet talking about the efficiency of the entire cycle.
Recently I was busy with an electrical installation of a house which must be prepared for the energy transition. You don't want to know how much the standing charge goes up if you want 3x 40Ampere instead of 25A,
Anyone who calculates everything and takes everything into account will find out that CO2 emissions are increasing rather than decreasing, so the climate agreement is very unbelievable.
The only advantage of the measures is the stimulus of the economy, which is of no use to ordinary citizens.
No wrote:
And to think that in Germany and France you will get a subsidy if you switch to gas. They will then have different gas there? Right ...
And… off the gas in the Netherlands, will they also stop drilling in Groningen or will it not deliver enough?
Conclusion: a few people become very rich and the crowd will pay ...
Wilfred Bakker wrote:
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How are we going to bring the big change if 99% is inanimate?
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text:
Q: How to Parse from the JSON file? I have following objects in JSON file. I have to parse it and store it in a file. What will be the android code for doing this?
 {
  "result":"ok",
  "numbers":
           [
            {
              "First":"first",
              "Second":"second",
              "Third":"third",
              "Fourth":"fourth",
              "Fifth":"fifth"
            }
           ]
 }

Any one find me getting out of this? I would really appreciate your work.

A: { -> json object
  "result":"ok",
  "numbers":[-> json array
            {

Do like this
JSONObject jobject=new JSONObject(jsonString);
JSONArray jarray=Jobject.getJSONArray("numbers");
String result=jobject.getJSONObject("result");
for(int i=0;jarray.length();i++){
      String first= jarray.getJSONObject(i).getString("First");
      String Second= jarray.getJSONObject(i).getString("Second");
}

A:  { // json object node
  "result":"ok",
  "numbers":[// json array numbers
            {
              "First":"first",

To parse
JSONObject jb = new JSONObject("your json");
String result = (JSONArray)jb.getString("result");
JSONArray jr = (JSONArray)jb.getJSONArray("numbers");
JSONObject jb1= (JSONObject) jr.getJSONObject(0);
String first = jb1.getString("First");
// similarly for second third and fourth

Once you parse you can write the result to a file.
Edit:
Note:  Network operation must be done in a background thread. Use Asynctask
try
{
HttpClient httpclient = new DefaultHttpClient();
httpclient.getParams().setParameter(CoreProtocolPNames.PROTOCOL_VERSION, HttpVersion.HTTP_1_1);
HttpGet request = new HttpGet("your json url ");
HttpResponse response = httpclient.execute(request);
HttpEntity resEntity = response.getEntity();
String _response=EntityUtils.toString(resEntity);
}catch(Exception e)
{
      e.printStackTrace();
}

Now use _response JSONObject jb = new JSONObject("_response);. Rest all is the same

A: Try Using the following
import org.json.JSONArray;
import org.json.JSONObject;

JSONObject json = null;
JSONArray jsonArray = null;
String data = null;

json = new JSONObject(response);
data = json.getString("numbers");
jsonArray = new JSONArray(data);

for (int i = 0; i < jsonArray.length(); i++) {
String str =jsonArray.getJSONObject(i).toString();
}

A: always remember { means object and [ means array so you can proceed with following code in the give
JSONObject firstjobject=new JSONObject(jsonString);
JSONArray firstjarray=firstjobject.getJSONArray("numbers");
String result=firstjobject.getJSONObject("result");
for(int i=0;firstjarray.length();i++){
      String first= firstjarray.getJSONObject(i).getString("First");
      String Second= firstjarray.getJSONObject(i).getString("Second");
}

here numbers is an array and First,Second etc are the keys for relative data values


text:
<?php
namespace User;

use Zend\Mvc\ModuleRouteListener;
use Zend\Mvc\MvcEvent;
use Zend\ModuleManager\ModuleManager;

class Module
{
    /*public function onBootstrap(MvcEvent $e) {
        $eventManager = $e->getApplication ()->getEventManager ();
        $moduleRouteListener = new ModuleRouteListener ();
        $moduleRouteListener->attach ( $eventManager );
        $eventManager->attach('dispatch', array($this, 'checkLoginChangeLayout'));

    }

    public function checkLoginChangeLayout(MvcEvent $e) {
    if (! $e->getApplication ()->getServiceManager ()->get( 'zfcuser_auth_service' )->hasIdentity ()) {
        $controller = $e->getTarget ();
        $controller->layout ( 'layout/authentication.phtml' );
        }
    }*/

       /**
     * @param  ModuleManager
     * @return [type]
     */
    public function init(ModuleManager $moduleManager)
    {
        $events = $moduleManager->getEventManager();
        $sharedEvents = $events->getSharedManager();
        $sharedEvents->attach(__NAMESPACE__, 'dispatch', function($e) {
            $controller = $e->getTarget();
            $controller->layout('layout/user');
        }, 100);
    }

    public function getConfig()
    {
        return include __DIR__ . '/config/module.config.php';
    }

    public function getAutoloaderConfig()
    {
        return array(
            'Zend\Loader\StandardAutoloader' => array(
                'namespaces' => array(
                    __NAMESPACE__ => __DIR__ . '/src/' . __NAMESPACE__,
                ),
            ),
        );
    }
}


HOTEL Vista Hiroshima is the first hotel under the Vista brand in Hiroshima, located right in the heart of the city. A unique feature of the hotel is that the lavatory, bathroom and wash basin are separate from each other in every room. Twin rooms also come equipped with a micro bubble bath. All rooms are non-smoking. There is a convenience store located on the first floor. The hotel is within walking distance to the the Atomic Bomb Dome, the Peace Memorial Park and other major attractions. The hotel looks forward to welcoming you to their Japanese-style hotel.
20 minutes on foot from JR Hiroshima Station.


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Il castello di Absalon, (in danese: Absalons borg) fu una fortificazione posta sull'isola di Slotsholmen a Copenaghen, in Danimarca, collocato sul sito poi occupato dal castello di Copenaghen e dall'attuale palazzo di Christiansborg. Secondo il cronista medievale Saxo Grammaticus, il castello venne fondato dal vescovo Absalon nel 1167 per proteggere la città di Copenaghen. Il castello sopravvisse per 200 anni prima di essere distrutto nel 1369 dalla Lega anseatica che, in un primo momento lo occupò e lo saccheggiò, e poi lo demolì completamente.

Il castello era composto da un muro di cinta circolare che racchiudeva il cortile interno e diverse strutture tra cui la residenza del vescovo, una cappella e altri ambienti di servizio. Le rovine del castello di Abasalon si possono ancora oggi vedere negli scavi condotti sotto il palazzo di Christiansborg.

Storia

Secondo il cronista  Saxo Grammaticus, il castello di Absalon - talvolta chiamato anche "castello del vescovo Absalon" (in danese: Biskop Absalons borg) o "castello di Absalon al porto" (in danese: Absalons borg ved havn) - venne fondato nel 1167 dal vescovo Absalon di Roskilde, il quale nel 1157 aveva ricevuto la città di Copenaghen e i suoi sobborghi come dono da parte di re Valdemaro I di Danimarca.

Alla morte di Absalon nel 1201, il possesso del castello e della città passarono alla diocesi di Roskilde. Alcuni decenni dopo, ad ogni modo, esplose una lotta feudale tra la corona e la chiesa e per due secoli i diritti di possesso del castello e della città vennero pesantemente contestati.

Nel 1368 il castello e la città vennero conquistati da una coalizione di nemici del re Valdemaro IV di Danimarca, di cui il maggiore esponente erano la  Lega anseatica, il re Alberto di Svezia, il duca di Meclemburgo ed i conti di Holstein. L'anno successivo, il castello venne raso al suolo come risultato del trattato di pace.

Dopo la distruzione del castello, i resti della struttura vennero ricoperti da terriccio e sopra questo venne eretto il  castello di Copenaghen e poi il  palazzo di Christiansborg. I resti dell'antico castello vennero scoperti e portati alla luce nel 1907 e nel 1917 durante la costruzione dell'attuale palazzo di Christiansborg.

Il castello
Il castello era circondato da un muro di cinta di pietra calcarea proveniente dalle cave di Stevns, frammenti che ancora oggi sono visibili. In alcune parti si sono trovate anche tracce di altre strutture tra cui travi di quercia e frammenti di marmo che farebbero ricondurre l'ambiente alla cappella del palazzo.

Note

Voci correlate
 Bispegården

Altri progetti

Absalon
Slotsholmen
Architetture militari di Copenaghen

redpajama_set_name: RedPajamaWikipedia


A Singaporean man died after falling off a cliff and into the sea while attempting to take a selfie photograph on Nusa Lembongan Island, off the southeast coast of Bali, Indonesia, on Thursday, May 21st, 2015.
Mohamed Aslam Bin Shahul, 21, died after falling into the ocean from a two meter high cliff during a holiday with eight friends at the Sandi Bay Beach.
"He could not control his balance when he was hit by a wave. He slipped and fell into the ocean. He apparently couldn't swim," said police.
The body was found at a depth of five meters. Local residents brought him to Jungut Batu community health center where doctors declared him dead.


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Lab Tech.
BioResearch
Mild Brain Trauma Diagnosed with POC Device
By Labmedica International staff writers
Every year in Europe, three million people are admitted into hospitals for suspected mild traumatic brain injury (mTBI) cases. Biomarkers have been intensively studied for their potential as diagnostic tools in cases of mTBI to allow accurate diagnosis, improve patient management speeds and reduce medical costs.
Falling whilst skiing, tumbling down the stairs or getting hit on the head can cause symptoms such as blurred vision, vomiting, loss of consciousness or memory for about 30 minutes. There is then a risk of mild cerebral trauma, which represents more than 90% of brain injuries admitted to hospitals. Today, the only reliable diagnosis is the computerized tomography (CT) scan, which is only available in some hospitals and exposes patients to radiation.
Image: One drop of blood is enough for TBIcheck to diagnose a possible mild brain trauma. If a line appears below the control line, the injured person will have to go to the hospital for a CT scan (Photo courtesy of the University of Geneva).
An international team of scientists collaborating with University of Geneva (Geneva, Switzerland) recruited patients from three different European sites: Geneva, Seville and Barcelona. Cohort 1 included 132 patients, of whom 21 were CT-positive (16%). Independent Cohort 2 was used for panel validation on 109 patients, of whom 17 (16%) were CT-positive.
The team evaluated 13 proteins individually for their capacity to differentiate between patients with and without a brain lesion according to CT results. They gradually isolated four molecules indicating the presence of a brain injury: Heart-type fatty acid binding protein (H-FABP), Interleukin-10, S100 calcium-binding protein B (S100B) and Glial fibrillary acidic protein (GFAP). The team noticed that the H-FABP level alone makes it possible to confirm that there is no risk of trauma in one third of patients admitted after a shock.
The team developed a small device, a Point-of-Care Test (POCT) that analyses the level of proteins in the blood and allows, using a single drop of blood, to diagnose the possibility of a mild traumatic brain injury. The rapid diagnostic POCT test, called TBIcheck, was inspired by the principle of pregnancy testing: by placing a single drop of blood on the well of a small 5 cm plastic case, the patient knows within 10 minutes whether there is a risk of mild trauma, namely whether or not his H-FABP level is higher than 2.5 ng/mL of blood. In case of doubt when reading the result, a small reader, the Cube Reader, can be installed on TBIcheck. It will display the word "positive" or "negative" and send the result to the patient's or caregiver's smartphone via Bluetooth. The TBIcheck will be marketed from 2019 by Advanced Brain Companion Diagnostics (ABCDx, Geneva, Switzerland).
Jean-Charles Sanchez, PhD, a professor and senior study author, said, "Our study shows that the results are even more accurate when we combine H-FABP and GFAP levels. We are currently preparing an even more effective TBIcheck, which will allow 50% of patients to be sent home, but which requires an increase in the sensitivity of the test that receives the blood." The underlying study was published on July 9, 2018, in the journal PLOS ONE.
University of Geneva
Advanced Brain Companion Diagnostics
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Dino Island by Jim Lawson (1993)
October 1942. Pilot Amelia not-Earhart is attempting to break the record for fastest flight across the Atlantic Ocean when her P-51 Mustang takes an unexpected detour. After passing through a strange atmospheric anomaly, Amelia lands on an uncharted island inhabited by living dinosaurs. She quickly befriends a surprisingly docile Triceratops, encounters a small colony of other castaways, and finds a gigantic alien structure that may explain the island's existence as well as provide a way home.
Dino Island is a two-issue comic book miniseries published to cash in on the interest in dinosaurs generated by the release of the first Jurassic Park film, which came out the same year. Writer and artist Jim Lawson is best known for his work on Teenage Mutant Ninja Turtles. He is also something of a dinosaur nut, having self-published the wonderful dinosaur comic Paleo: Tales of the Late Cretaceous.
Dino Island isn't as good as Paleo, in part because the dinosaurs take a back seat to a rather mediocre story about the origins of the island. Two issues were too short for the tale that Lawson wanted to tell. He introduces plot elements that go nowhere and there is no real logic in why anything happens over the course of the story – one moment doesn't connect to the next. The series also concludes with a downer ending, which is surprising given its light-hearted subject matter.
The art is the bright spot. Lawson draws in a cartoony style that might put some people off, particularly when it comes to his human characters. That said, I found it rather pleasant to look at. I especially liked Lawson's use vibrant colors, which was a nice change of pace from the black-and-white Paleo.
Dino Island ultimately is a comic that looks better than it reads. If Lawson had chosen a simpler plot and focused more on the dinosaurs, then I think he would have had a winner. Instead we're left with a comic whose sole claim to fame is as a relic of the dinosaur craze that accompanied Jurassic Park.
The covers of the two issues form a single continuous image when laid side-by-side.
Lawson's superior comic Paleo can now be read online for free.
August 1, 2017 Leave a commentDinosaurs, Space travel, Time travel
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Home » Additive manufacturing » News » GE joins 3D printing consortium
GE joins 3D printing consortium
GE Global Research has joined the 3MF Consortium, an industry association created to develop and promote a new full-fidelity file format for 3D printing.
Scientists and engineers in GE's additive manufacturing lab have been pioneers in developing new additive produced components with metals and ceramics and GE built the first mass production additive manufacturing (AM) facility in the US in Auburn, Alabama. Currently, GE is said to be the world's largest user of additive technologies with metals.
'With the successful integration of 3D printed metal parts in two different jet engine platforms and the construction of GE Aviation's US$50 million state-of-the-art high-volume additive production plant in Auburn, Alabama, we achieved major milestones with our additive program in 2015,' said Prabhjot Singh, manager of the additive manufacturing lab at GE Global Research. 'But we have only scratched the surface on additive's potential [...] That future will arrive faster through the strong ecosystem that 3MF is building to bring the right stakeholders together to accelerate new innovations and breakthroughs in this space.'
The 3MF Consortium was formed to close the gap between the capabilities of modern 3D printers and outdated file formats. The 3MF specification eliminates the problems associated with currently available file formats, resolving interoperability and functionality issues, and enabling companies to focus more on innovation. The first version of the 3MF specification can be found here. Founding members of the 3MF Consortium are 3D Systems, Autodesk, Inc, Dassault Systèmes SA, FIT AG, GE Global Research, HP,Inc, Materialise, Microsoft Corporation, Shapeways,Inc, Siemens PLM Software, SLM Solutions Group AG, Stratasys and Ultimaker.
This story uses material from 3MF, with editorial changes made by Materials Today. The views expressed in this article do not necessarily represent those of Elsevier.
GE Aviation invests in EBM
GE Aviation has purchased 17 Arcam A2X systems and 10 Arcam Spectra H systems, which use electron beam melting (EBM) technology to 3D print parts.
3D printing boost for Turkey
Turkish joint venture company TUSAŞ Engine Industries (TEI) has acquired four new 3D printing machines from GE Additive.
GE Additive to accelerate metal additive growth
GE Additive announced today that it has been selected to provide its 3D printing consultancy services to General Atomics Aeronautical Systems (GA-ASI).


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Are schools doing enough to protect student data?
What can schools do to protect students' data? Source: Neonbrand/Unsplash
Recently, Forbes outlined the recent cyber threats that every company should know about.
Trouble areas included a "lack of visibility"; with sensitive data sprawled across personal devices and public clouds, it's hard for security professionals to keep up with the changing scenes of a company's data and the data-sharing habits that happen internally.
Another cause for concern was the absence of "Next-generation firewalls, AV solutions, URL filters, data loss prevention (DLP) solutions, endpoint detection and response (EDR) solutions."
By not bringing the latest cybersecurity technologies to the forefront of their focus, many companies lose integral data due to continuous security breaches.
Yet, with efficient cybersecurity advice readily available for companies with open budgets, what happens when a small school suffers a cyberattack and loses student data?
Students' data is under threat from crafty cyber attackers. Source: Shutterstock
This year in the US, there has been an increase in cyberattacks against smaller schools that cannot afford high-tech firewalls and expensive DLP solutions.
Highlighted by The Hill, "School districts across the country are increasingly becoming a major target of malicious cyberattacks, leaving both the federal government and state governments scrambling to find ways to fight back.
"Recent cyberattacks on school districts in Louisiana, Virginia and Oklahoma have highlighted the threat. In Louisiana, Gov. John Bel Edwards (D) declared a statewide emergency last month in response to ransomware attacks on three school districts, and authorised state resources and cyber assistance to help the districts."
But if you want to see destruction in numbers, you should look at the K-12 Cyber Incident Map.
Since January 2016, the map presents 590 reported cybersecurity-related incidents from US K-12 public schools and districts.
From phishing attacks resulting in the disclosure of personal data to ransomware attacks, cybersecurity breaches are continuous and a growing challenge for schools across the country.
Here's what we currently know about the demographics of school districts who have expereinced a cybersecurity incident: /2 pic.twitter.com/RGFeCUTlJ7
— The K-12 Cybersecurity Resource Center (@K12CyberMap) July 29, 2019
How can schools conquer malicious cybersecurity attacks?
Unlike budget-less businesses and extensive education networks, some schools only have limited costs to defend themselves against cybersecurity breaches.
And even if schools don't think they need to defend themselves against tech-based terrors, it should be known that in the 2019 Malwarebytes State of Malware report, education consistently appeared in the top 10 industries targeted by cybercriminals.
Understanding the difficulties of staying inside the budget when it comes to cybersecurity solutions, Operations Director Ted Burrows from Harrap ICT, an IT service provider for K-12 schools across the United Kingdom, outlines five useful tips that schools can take:
Educate faculty, students, and staff
According to Ted, it's vital to keep your school faculty and staff educated and aware by holding monthly or bi-monthly trainings during workdays to brush up on detecting phishing emails and learn about new threats.
"It's also important to set a security policy. The policy should include password, email, internet, acceptable use policies and more. Depending on technology and processes, the policy's purpose is to set rules and procedures for everyone on the campus to follow while utilising school Wi-Fi and devices."
If everyone follows this policy, a cybercriminal's chances of stealing student data will lessen.
Layered security
"Schools, colleges, universities, and other institutions need antivirus that learns and updates as new threats are realised. Then it's important to build layers of security, such as anti-malware, firewalls, secure gateways, patching software, and more to build a strong defense," Ted notes.
This layered cybersecurity approach is a safe way to protect data and devices in an always-changing environment. So, if one layer is compromised, such as a firewall, the school will have additional layers in place to make it even harder for the cybercriminal to crack through and steal students' data.
Keep software patched
Schools use countless applications and servers with vulnerabilities that allow cybercriminals to gain access to the network easily.
Ted believes that by staying on top of patching systems, your institution is protected.
Back up your network data
Always, always, always have a backup!
If cybercriminals gain access to your data and threaten to encrypt or destroy it, having a backup and recovery strategy is essential.
You can implement automated backup and recovery software to keep student data extra safe and to ensure that if anything did go wrong, you can get the system up and running again in a few minutes.
Monitor your network
On his final point, Ted advises that schools should "Ensure visibility across their entire network. Being able to locate where vulnerabilities exist and remediate them remotely saves IT teams time, while saving the network from widespread damage."
By following the five points above, schools have a chance of maximising their security efforts at minimal cost.
Of course, this doesn't ensure ultimate protection, but if awareness of these breaches is raised, there's still hope that they'll play a part in saving valuable information.
Basic cybersecurity behavior & ethics ought to be a school level subject. Thoughts? https://t.co/R4g36juIJa
— Krish Ashok (@krishashok) August 25, 2019
So, is your school doing enough to protect student data?
And do you think there needs to be more education on cybersecurity for both students AND educators?
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by Brianna Crandall — April 3, 2019 — Triple+, a Toronto-based cutting-edge developer and marketer of state-of-the-art Internet of Things (IoT) solutions for plumbing and heating/ventilation/air-conditioning (HVAC) applications, has introduced a new-generation end-to-end water leak damage prevention system. The new Central Monitoring Station combines multiple devices with a real-time cloud-based capability to monitor water leaks 24/7 across a portfolio.
Powered by cloud technology, the Triple+ Central Monitoring Station provides around-the-clock water leak damage prevention management for any building anywhere while managing "unlimited" number of locations from a single dashboard. Property managers, therefore, can view all connected systems at a single glance, and homeowners can manage their property from anywhere in the world through a user-friendly application.
Designed for facilities such as offices, condominiums and campuses, where water leaks cause extensive damage if not detected and automatically prevented in time, the system sends real-time push notifications to property owners, facilities managers (FMs), maintenance and/or back-office staff. That enables on-site personnel or their property management companies to take immediate appropriate action to address the water leak.
In addition to push notifications, emails and/or text messages can be sent as a backup to assure receipt of the information about an event, giving property owners peace of mind when they are not physically present at the property.
Because all Triple+ devices are battery-operated and wireless (including the shutoff unit), installation can proceed quickly, says Triple+. In addition, the company says there are no extra or hidden expenses such as, for example, dedicated WiFi extenders or electrician costs, and no cable trenching is necessary. "That means any disturbance to residents is kept at a minimum, and the number of units installed per day is maximized," Isakov pointed out.
Our channel partners and customers are always our top priority in developing new solutions. By combining early detection capability, automatic damage prevention, 24/7 monitoring, remote access, and cloud technology, Triple+ prevents major plumbing crises and resultant mold while preserving real estate investments, which more than guarantees ROI upfront.
For more information about the Triple+ Central Monitoring Station, visit the company's website. Triple+ products are available in North America and Europe via nationwide distributors.
Learn what OSCRE is doing to ensure your CRE data will be compatible with as many systems as possible September 21, 2018 In "Associations and Organizations"