text:
Correction: SAG Awards-Robert De Niro story
FILE – This Oct. 24, 2019 file photo shows Robert De Niro at the Los Angeles premiere of "The Irishman." De Niro will receive the Screen Actors Guild's life achievement award at its award show in January. (Photo by Richard Shotwell/Invision/AP, File)
LOS ANGELES (AP) — In a story Nov. 12 about Robert De Niro being named the recipient of the life achievement honor at the 2020 Screen Actors Guild Awards, the Associated Press reported erroneously the full name of the union. It is the Screen Actors Guild-American Federation of Television and Radio Artists.
A corrected version of the story is below:
Robert De Niro named SAG Awards life achievement honoree
Robert De Niro to receive the Screen Actors Guild Awards' top honor, its life achievement award
LOS ANGELES (AP) — Robert De Niro will receive the life achievement award at the 2020 Screen Actors Guild Awards.
The Screen Actors Guild-American Federation of Television and Radio Artists announced that De Niro will be the 56th recipient of its highest honor during the televised awards show on Jan. 19.
SAG-AFTRA cited De Niro's extraordinary accomplishments in film and television, including two Academy Awards, a Presidential Medal of Freedom and numerous other honors. It also noted his co-founding and championing of New York City's Tribeca Film Festival.
De Niro's latest film is "The Irishman," which is playing in theaters in limited release before arriving on Netflix at the end of the month.
The actor says in a statement that he's honored to receive the award from a union that he's been a part of for more than 50 years.
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'Saved by the Bell' star Dustin Diamond diagnosed with cancer
by fox8webcentral, Nexstar Media Wire / Jan 15, 2021
(WJW) -- "Saved by the Bell" star Dustin Diamond has been diagnosed with cancer, his team confirmed on his Facebook page Thursday.
A post said, "At this time we can confirm that Dustin does have cancer. Dustin will disclose more information once it is available and a plan moving forward is made."
Siegfried Fischbacher of famed magic act 'Siegfried & Roy' dies of pancreatic cancer at 81
by Wilson Wong NBC News / Jan 14, 2021
LAS VEGAS (NBC NEWS) - Siegfried Fischbacher, half of the world-famous Las Vegas magic and entertainment act Siegfried & Roy, died of cancer eight months after the death of his long-term business partner Roy Horn. He was 81.
A spokesperson for Fischbacher told NBC News on Thursday that the renowned illusionist died on Wednesday evening at his home in Las Vegas from pancreatic cancer.
Tennessee lawmaker wants Dolly Parton statue added to state Capitol grounds
by Josh Breslow, Nexstar Media Wire / Jan 14, 2021
NASHVILLE, Tenn. (WKRN) — A Tennessee state lawmaker has introduced a bill that would add a statue of Dolly Parton to the Capitol grounds in Nashville.
Representative John Mark Windle, a Democrat representing Fentress, Morgan and Overton counties, on Tuesday introduced House Bill 135, aimed at honoring the country legend.


text:
Vettel too good to be written off, says Wolff
12 September 2019 Motorsport.com F1 0
While Charles Leclerc grabbed a brilliant victory for Ferrari on its home turf at Monza, Vettel endured another frustrating afternoon as he spun early in the race and then was handed a penalty for rejoining in an unsafe manner and colliding with Lance Stroll.
While some have suggested that Vettel's ongoing struggles, against the backdrop of teammate Leclerc's growing form, are pointing to a changing of the guard at Ferrari, Wolff is not so convinced.
"I'm just saying, don't write him off," he said after Vettel's latest troubles. "He's a four-time world champion, and the difference between the great ones and the good ones is that the great ones are able to get up again. And I have no doubt that he can do that.
"He's had a spell of bad races, and now it will be about the ability to get himself back into where he deserves to be, and [Italy] for sure is a bad day for him."
While Vettel was disappointed with what happened in Italy, he maintains it was ultimately good for Ferrari.
"It's good for the team," he said when asked to reflect on what happened. "On my side I'm not happy, certainly not with how it went today, with that spin.
"After that obviously our race was pretty much lost from there, but at least the team was still going. Last year it was close with Kimi [Raikkonen], this time it was certainly good that Charles sealed the victory at the end for the team."
Why Red Bull had a better F1 car than Brawn in 2009
Imola, Mugello talk up joining Monza in F1

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9 out of 10 based on 862 ratings. 4,787 user reviews.
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text:
BioShock Soundtrack Gets Hollywood Treatment
Written by BuckGB on	July 17th, 2007
A press release was issued this morning announcing that Hollywood composer Garry Schyman is responsible for the soundtrack in Irrational Games' BioShock.
BioShock Features Original Score By Garry Schyman
AWARD WINNING HOLLYWOOD COMPOSER PROVIDES CLASSICAL MUSIC PALETTE FOR INNOVATIVE FIRST PERSON SHOOTER VIDEO GAME
Los Angeles, CA July 17th, 2007 Film, television and video game composer Garry Schyman (www.garryschyman.com) has created the original score for the highly anticipated and innovative first person shooter BioShock developed by Irrational Games and published by 2K Games. Composed in various styles of early twentieth century writing, the music is at times chillingly ominous and at other times deeply beautiful and poignant. BioShock is developed for the Xbox 360â"¢ video game and entertainment system from Microsoft and PC and will be released in North America on August 21, 2007 and internationally on August 24, 2007.
(Garry Schyman's work for us was incredible from the start in every possible aspect,) said Emily Ridgway, Audio Director at Irrational Games. (From his ability to produce and compose amazingly unique orchestral recordings, all the meanwhile perfectly accommodating the peaks and troughs of game development, Garry really deserves all the praise he gets for the BioShock soundtrack and then some.)
Ken Levine, Creative Director at Irrational Games, attested, (It's kind of hard to imagine BioShock without Garry's music. It just wouldn't be the same game.)
BioShock is the "genetically enhanced" first person shooter that lets you do things never before possible in the genre: turn everything into a weapon, biologically mod your body with plasmids, hack devices and systems, upgrade your weapons and craft new ammo variants, and experiment with different battle techniques.
You are a cast-away in Rapture, an underwater Utopia torn apart by civil war. Caught between powerful forces, and hunted down by genetically modified (splicers) and deadly security systems, you have to come to grips with a deadly, mysterious world filled with powerful technology and fascinating characters. No encounter ever plays out the same, and no two gamers will play the game the same way.
To immerse players in this captivating and haunting world Schyman crafted a complex combination of aleatoric elements, early 20th century writing, musique concrete, traditional tonal and late romantic styles. The score, recorded with a live orchestra at historic Capitol Studios in Hollywood, features solo violin, cello, and piano performances.
(BioShock is a composer's dream project; I have never been offered such a unique palette to write for,) said Garry Schyman. (I really pushed myself to create a score that truly complements the extraordinary experience of BioShock and Irrational Games supported me all the way. I even had the opportunity to write a solo piano work in the style of late Rachmaninoff!)
Garry Schyman is represented by the Gorfaine/Schwartz Agency. For more information on the composer visit www.garryschyman.com.
For more information on BioShock visit www.bioshockgame.com.
Related Games: BioShock Infinite


text:
Q: Draw Line of Regression on scatter plot using Matplotlib Using matplotlib i am trying to draw the regression line i calculated using a CSV dataset of pollution.
# split the dependent and independent variables
X = df[['O3', 'TEMP', 'PRES', 'DEWP',
       'RAIN', 'wd', 'WSPM']]
y = df["SO2"]

# training and test split
X_train, X_test, y_train, y_test = train_test_split(X, y, test_size=0.2)

I want to use the values of O3 as x and SO2 as y for this particular scatter plot, as X contains multiple elements i used. the .iloc[:,0].values to make sure it is only the first column. However the code below will generate the correct scattergraph but not the regression plot.
    # fit the training data to the models

    # LINEAR REGRESSION
    linReg.fit(X_train, y_train)
    print("Linear Regression Intercept: ",linReg.intercept_ )
    print("Linear Regression Coeffients: ", linReg.coef_)
# compute accuracy using R-squared

# LINEAR REGRESSION ACCURACY
y_pred = linReg.predict(X_test)

print("Linear Regression Accuracy Score: ", r2_score(y_test, y_pred))
linScore = r2_score(y_test, y_pred)

plt.scatter(X_train.iloc[:,0].values, y_train, edgecolor='k', facecolor='grey', alpha=0.7, label='Sample data')
plt.plot(X_train.iloc[:,0].values, y_pred, color='r')
plt.ylabel('SO2 Values', fontsize=14)
plt.xlabel('O3 Values', fontsize=14)
plt.legend(facecolor='white', fontsize=11)

it generates this traceback.
ValueError                                Traceback (most recent call last)
Input In [25], in <cell line: 10>()
      7 linScore = r2_score(y_test, y_pred)
      9 plt.scatter(X_train.iloc[:,0].values, y_train, edgecolor='k', facecolor='grey', alpha=0.7, label='Sample data')
---> 10 plt.plot(X_train.iloc[:,0].values, y_pred, color='r')
     11 plt.ylabel('SO2 Values', fontsize=14)
     12 plt.xlabel('O3 Values', fontsize=14)

File ~/opt/anaconda3/lib/python3.9/site-packages/matplotlib/pyplot.py:2757, in plot(scalex, scaley, data, *args, **kwargs)
   2755 @_copy_docstring_and_deprecators(Axes.plot)
   2756 def plot(*args, scalex=True, scaley=True, data=None, **kwargs):
-> 2757     return gca().plot(
   2758         *args, scalex=scalex, scaley=scaley,
   2759         **({"data": data} if data is not None else {}), **kwargs)

File ~/opt/anaconda3/lib/python3.9/site-packages/matplotlib/axes/_axes.py:1632, in Axes.plot(self, scalex, scaley, data, *args, **kwargs)
   1390 """
   1391 Plot y versus x as lines and/or markers.
   1392
   (...)
   1629 (``'green'``) or hex strings (``'#008000'``).
   1630 """
   1631 kwargs = cbook.normalize_kwargs(kwargs, mlines.Line2D)
-> 1632 lines = [*self._get_lines(*args, data=data, **kwargs)]
   1633 for line in lines:
   1634     self.add_line(line)

File ~/opt/anaconda3/lib/python3.9/site-packages/matplotlib/axes/_base.py:312, in _process_plot_var_args.__call__(self, data, *args, **kwargs)
    310     this += args[0],
    311     args = args[1:]
--> 312 yield from self._plot_args(this, kwargs)

File ~/opt/anaconda3/lib/python3.9/site-packages/matplotlib/axes/_base.py:498, in _process_plot_var_args._plot_args(self, tup, kwargs, return_kwargs)
    495     self.axes.yaxis.update_units(y)
    497 if x.shape[0] != y.shape[0]:
--> 498     raise ValueError(f"x and y must have same first dimension, but "
    499                      f"have shapes {x.shape} and {y.shape}")
    500 if x.ndim > 2 or y.ndim > 2:
    501     raise ValueError(f"x and y can be no greater than 2D, but have "
    502                      f"shapes {x.shape} and {y.shape}")

ValueError: x and y must have same first dimension, but have shapes (44269,) and (11068,)

here is the working scatter graph

what is wrong with the plot command? am i using the wrong value of x and y?
EDIT: Resizing X to be the same size as y_pred does produce a line, but i'm not sure why it isnt a best fit regression line but a line connecting these points together
X_plot = X_train.iloc[:,0].values
print(X_plot.shape)
print(y_pred.shape)
X_size = np.resize(X_plot,(11068,))
plt.scatter(X_plot, y_train, edgecolor='k', facecolor='grey', alpha=0.7, label='Sample data')
plt.plot(X_size, y_pred, color='r')
plt.ylabel('SO2 Values', fontsize=14)
plt.xlabel('O3 Values', fontsize=14)
plt.legend(facecolor='white', fontsize=11)

A: The problem here is that you are plotting the train data against the prediction you got from the test data. That's why there is a difference in the dimensions of the inputs resulting in your error.
If plot the predictions made on the training data and plot them against the training data, you wouldn't get an error.
y_train_pred = linReg.predict(X_train)

plt.scatter(X_train.iloc[:,0].values, y_train, edgecolor='k', facecolor='grey', alpha=0.7, label='Sample data')
plt.plot(X_train.iloc[:,0].values, y_train_pred, color='r')
plt.ylabel('SO2 Values', fontsize=14)
plt.xlabel('O3 Values', fontsize=14)
plt.legend(facecolor='white', fontsize=11)

To learn more about Linear Regression you can checkout this article - Gradient Descent (now with a little bit of scary maths).

A: Try saving X_train.iloc[:,0].values to a variable and then plotting it. Matplotlib is weird like that.

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It is indeed the 'Christmas' story of 2018. While India was celebrating Independence Day on 15th August, a new-born baby was found in a Chennai gutter, wailing loudly. The umbilical cord was around his tiny neck. Many people walked across the drain. But it was a poor compassionate passer-by, Geetha, who came to his aid. Setting aside all her other tasks, she rushed him to the Government's Children Hospital.
The author is Founder-Director of Dhanam and currently directing programmes at Dhayan Ashram, Chennai.
I was suggested this blog via my cousin. I am no longer positive whether or not this publish is written by way of him as no one else recognise such specific about my difficulty. You're amazing! Thank you!


Dr. Hudson is a top Peoria dentist who has helped thousands of patients with their beautiful and natural smiles in our state-of-the-art East Peoria office. His passion for attention to detail, extraordinary care, and patient comfort allow him to treat his patients comfortably and effectively. His endless drive for perfection has made him one of the top Implant dentists and Invisalign dentists in the Peoria area.
Dr. Hudson was born and raised right here in the Peoria, IL area. After graduating from Pekin High School, he attended college at Bradley University and received his degree in Molecular Biology. He then went on to attend dental school at Southern Illinois University School of Dental Medicine. After graduation, he returned to practice dentistry here in central Illinois and treats patients from East Peoria, Peoria, Pekin, Washington, Metamora, and Morton.
You will be pleased to know that Dr. Hudson's continued learning did not end with dental school. Dr. Hudson has dedicated himself to over a hundred hours of advanced continuing education every year since graduating dental school. By putting emphasis on cosmetic dentistry, dental implant, and Invisalign advanced training, Dr. Hudson's training has set him above and beyond the skill of your average dentist.
Dr Hudson and his wife were high school sweethearts, and were married in 2013. They are avid dog lovers. They currently have three dogs.
They love traveling and are always looking to explore new places. They went to Greece on their honeymoon, and some of their favorite places are California, New York, and Paris.
In his spare time, Dr. Hudson enjoys doing home improvement projects, cooking, and watching sports.


Our Neuroimaging devices offer researchers and clinicians a variety of techniques to either directly or indirectly image the structure, function and pharmacology of the brain.
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I make all of my jewelry by hand in my Santa Fe, New Mexico studio.
I use reclaimed sterling silver, 14k + 18k gold, conflict-free diamonds and ethically-sourced gemstones. The pieces that I create are designed to be worn by every body. I don't subscribe to gender stereotypes, and don't think jewelry needs to either. So I don't separate styles into men's and women's sections. If you see a piece that resonates with you, that's wonderful!
I offer the most commonly ordered sizes per style on the website, but many styles can be made in any size. If you don't see your size available in the piece you are interested in, get in touch to place a special order. See below for more info on sizing, ordering, shipping and custom projects.
Most rings can be made in US whole and half sizes 4-12. Availability varies by ring style. If you don't see your size, ask about placing a special order. I recommend getting sized by a professional jeweler. For international ring sizes - please see this ring size chart. I also stock ring sizers in the shop, and they ship with a coupon towards any ring in the shop. Quarter sizes are available upon request. The ring sizers are roughly the width of a 3mm band. If you're getting a wide band, like 6mm or 12mm you may want to size up a little, and likewise if you're getting a skinnier band, like 1mm, you may want to size down just slightly. For example, in a 1mm band, I wear a 6, in a 6mm band I wear a 6.5, and in a 12mm band, I wear a size 7.
Bangles measure 2 1/2" inches in diameter, which is standard in the jewelry industry. Smaller and larger sizes are available on request. If you have a bangle that you know fits you well, you can measure the diameter with a ruler. You can also get sized for bangles by a professional jeweler.
Cuff bracelets are available in a standard medium size which is roughly 6" around with a 1" opening. This size fits a lot of wrists. If you need a smaller or larger size, they can easily be made as a special order. Here are some of the options: extra small measures 5.5" + opening, small is 5.75" + opening, medium (my standard size) is 6" + opening, large is 6.25" + opening and extra large is 6.5" + opening.
Necklaces range in size from 16-32" long. See item description for availability. To check your preferred length, you can either measure a necklace that you already wear, or use a piece of string. To measure: unclasp the necklace, lay it flat on a ruler, and measure from end to end, including the clasp. If you don't see your preferred necklace length in the product option, get in touch to place a special order.
Email with any questions or use the form at the bottom of this page to get in touch.
All of my jewelry is handmade with recycled sterling silver and gold, conflict-free diamonds and ethically sourced stones. Most pieces are made to order in my Santa Fe, New Mexico studio and will ship in 1-3 weeks. A handful of styles take a little bit longer, and have estimated lead times in the product description. If an item is in stock, I will ship it as soon as possible. Also, sterling silver pieces typically will ship faster.
If you need something by a particular date, rush service may be available - email me to inquire. The Ready to Ship collection is a rotating selection of handmade jewelry that is in stock and will ship in 1-3 business days. If for any reason there may be a delay in shipping, I will contact you right away. My jewelry is primarily made in 14k yellow gold and sterling silver. Many pieces are also available in 14k rose and white gold. A number of pieces can be made in 18k gold as a special order, which is typically 15% more than 14k gold pieces. All sterling silver, 14k yellow and rose gold pieces are nickel-free. 14k white gold does contain nickel, so if you have a nickel allergy, but are interested in white gold, some styles can be made with 14k or 18k palladium white gold (nickel-free) as a special order.
Books and zines ship in 1-3 business days.
I would be happy to ship an item as a gift to someone. Please include your message in the notes section at checkout and indicate the recipient's name and address as the ship to address. Digital gift cards are also available here.
All items ship with a muslin bag and a jewelry box.
Standard shipping is via USPS Priority Mail with tracking. Orders over $250 ship USPS Priority Mail insured for free. USPS Priority Mail usually takes 2-3 days, but I cannot guarantee delivery dates. Shipping for orders over $1000 will be sent insured via FedEx. FedEx overnight, 2-day and ground shipping is also available.
Please double check your billing and shipping address when placing an order as I am unable to reroute packages once they leave the studio.
Orders ship via USPS Priority Mail International for $30. Orders over $250 ship for free. Tracking is available for some countries. I cannot guarantee delivery dates for international orders. However, USPS Priority Mail International typically takes between 6-10 days, depending on the country. FedEx Priority International shipping is also available, and usually takes between 1-7 days to arrive, depending on the country.
Orders over $1000 are shipped insured via FedEx.
JEWELRY MAY BE EXCHANGED FOR ANOTHER SIZE OR RETURNED FOR STORE CREDIT TOWARDS ANOTHER STYLE WITHIN 14 DAYS OF RECEIPT. ALL RETURNS MUST BE IN NEW AND UNWORN CONDITION. THIS EXCLUDES CUSTOM ORDERS WHICH ARE FINAL SALE.
Please email me or use the form at the bottom of this page to request a return, and I will issue you a return authorization number. Please include your name and order number in your email to expedite the return process.
I am unable to cover return shipping. Please send your return back to us with your name, email, order number, and return authorization number (RA#). I am not liable for damages during the shipment process so please ship the jewelry in a well packaged box via an insured, traceable carrier.
Upon inspection and acceptance of your return, I will issue you store credit for your order minus any shipping cost. Store credit doesn't expire, and is issued in the form of a digital gift card.
If you would like to exchange an item for a different size, please email me with your order info and the new size requested. Your replacement piece will be produced within our regular production timeline. All replacement orders are FINAL SALE. I am not able to replace an order more than once.
If you received a damaged or defective item, please email with your order number along with a photo showing the issue, and I'll take care of you.
I stand by the craftsmanship of our jewelry. If you have any questions or concerns about your jewelry, please reach out and I'll do my best to help you.
I recommend removing all jewelry before sleeping, swimming, showering, mountain climbing etc.
To clean, wash with warm soapy water. Gold jewelry can also be cleaned lightly using a soft cloth. For a more thorough cleaning, soak your gold jewelry in a glass of warm water with a drop or two of non-detergent soap to remove any oils and loosen buildup. Remove after a few minutes and pat dry with a soft cloth. To clean further, use a very soft, worn toothbrush to carefully remove any dirt particles or debris from more intricate components and settings.
Sterling Silver jewelry can also be cleaned with a watery paste of baking powder and water or toothpaste to remove tarnish. Rub gently and rinse with water.
Interested in a commissioned piece?
Many pieces in my jewelry collection can be customized. For example, making a certain style in a different metal, with a different stone, in a different length or width, or even with initials stamped in the back of a pendant. These are alterations to an existing style in the line, and don't require the same amount of additional design work and consultation as custom projects. I can work with sterling silver, 14k and 18k yellow, white and rose gold to tailor a piece in the line for you. I currently work with diamonds, opals, turquoise, sapphires, rubies, emeralds, and moonstone, but may be able to source additional stones. Email me or fill out the form below and I'll get back to you.
I love working on custom design projects and commitment rings! Get in touch with your project idea using the form below, or send me an email.
Custom designed pieces of jewelry are really special. However, they do tend to cost a bit more than purchasing a piece from my current jewelry collection. This is because of the time required to design and create a new style. If you have a budget range in mind for your project, please let me know so that I can work with you to create something special within that range.
Custom projects take between 3-9 weeks to create once the final design has been decided upon. This timeframe depends on what is involved in the design process and how busy my season is. However, some pieces can be turned around faster: if you need your piece by a specific date, let me know and I will do my best to accommodate you. Once the design has been decided upon, a 50% deposit is required to begin work on a piece, with the balance due upon completion and before the piece is shipped.
I don't have a public storefront or showroom, but I still want to work with you to create your dream custom piece. Since my clients live all over the world, I offer free 15-20 minute phone, skype, or email consultations to discuss working on a custom design project. This is a good way to go over the process and answer some initial questions about design possibilities.
Some projects require more preparation and in-depth conversations, so I also offer a one-hour design consultation via phone, skype, or (sometimes) in person. These longer design consultations are $200, which will go towards the cost of whatever your custom design project may be.
I occasionally work with heirloom stones, but will need to inspect the stones before I can begin work on the project. Sometimes this will require custom settings, so while this might cut down on the cost of the stone itself, there is added labor involved. You should have your jewelry insured by your own private insurance agent. I do not insure jewelry but will provide invoices upon request. All loose, heirloom stones shipped to me for custom work, need to be insured prior to shipping.
Depending on the piece, I can sometimes work with your gold. If I can't use your gold in the exact piece, I can recycle it and give you a credit towards your piece. However, I can only accept karat-stamped solid gold. I don't work with any plated metals.


where were you last night?????????
oh yes trinibaje... i think someone put something of yours in my mailbox... you gonna come get it?
how is that wutless, it must have got redirected in the mail. geezus, don't u have some patented leather outfits and whips to shop for gal?
nah i gave those things up. i found that it just wasn't natural.
so u wear fur now? or lambskin?


I do not have any info on these wood pellets yet but they look like they are from Canada for sure.
Cons- pellet has a distinct unpleasant smell and it's a dirty pellet leaving my glass black as well as the inside.
High heat and super low ash!
Mantra – Canadian softwood pellets.
Solid perform at the $250 a ton price point in the RI/MA area. Nice long burn time, sub <.25% ash. These pellets left almost nothing in the burn pot on my Quadrafire Mt. Vernon insert. Decently clean burner with expected amount of bag dust. Bags were a bit thin and can rip easily when handling. Found to have a lower BTU than expected but does make for a comfortable Fall/Spring pellet. Not sure they can keep up with sub 20° winter wind. Not bad choice for the milder winter.


text:
U.S.|Georgia State Patrol: Woman Killed in Crash With School Bus
https://nyti.ms/36CBNHh
Georgia State Patrol: Woman Killed in Crash With School Bus
CARROLLTON, Ga. — The driver of an SUV died after crashing head-on into a school bus Wednesday morning, but a child on the bus and its driver weren't seriously injured, authorities said.
The Georgia State Patrol identified the driver as 53-year-old Sherry Penn, of Temple, news outlets reported.
The agency said Penn's Ford Explorer crossed the center-line of Ga. 113 while negotiating a curve and struck a Carroll County school bus head-on.
Penn was taken to an Atlanta hospital and later died.
The bus driver and the child were evaluated by medics at the scene and released, a spokeswoman for the Carroll County School System said. Authorities said the parents of the child on the bus were notified.
The crash occurred in an area about 40 miles (65 kilometers) west of Atlanta.


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It takes seconds to get attach the sensors, then you can get riding. The sensors self-calibrate so there is minimal fuss setting up. There are no magnets or other exposed parts that can get damaged.
You can use the speed and cadence data to spot weaknesses in your fitness or training programme. This data is invaluable to any cyclist gearing up for a season of racing.
The cadence sensor fastens to any size crank arm and tracks pedaling strokes per minute, so you can train for your optimal performanced.
The speed sensor attaches to the hub of either wheel and self-calibrates with your Garmin Edge to give you accurate speed and distance at all times, even when indoors on the turbo trainer, or in areas where GPS signal is interrupted.
These are replacements. For the venerable and ubiquitous GSC 10. Still using the ant+ wireless protocol means they are backward compatible with most products. A notable exception being the old Garmin FR305, which only recognises the combined speed and cadence, not these new separates. Being self-contained motion-sensors, these need no magnets, simplifying installation. I've found them to be bomb-proof and reliable, with the batteries lasting about 18 months in normal use.


text:
Why did the Pope accept one cardinal's resignation but not another's?
Christopher Altieri
Don't go yet: Pope Francis and Cardinal Barbarin (CNS)
Slice 1
Last week in Rome was the story of two resignations: one long since submitted and at long last accepted; the other, submitted and shelved on the same day. The former resignation belonged to the Archbishop of Santiago de Chile, Cardinal Ricardo Ezzati. The latter came from the Archbishop of Lyon and Primate of Gaul – France's highest ranking prelate – Cardinal Philippe Barbarin.
Both men are accused of gravely mishandling abuse cases. Cardinal Ezzati is currently the subject of an investigation by Chilean authorities. Cardinal Barbarin has been found guilty by a French trial court of criminal failure to report abuse. Both protest their innocence of criminal wrongdoing.
Pope Francis's apparently inconsistent handling of these cases – coming on the back of several other high-profile cases around the world over the past year – raises serious questions regarding not only his reform intentions and commitments, but also of policy. A candid observer cannot avoid at least considering the possibility he does not have one.
Writing for La Croix International regarding Cardinal Barbarin's conviction earlier this month, Massimo Faggioli, the Church historian and theologian from Villanova University, suggested: "Within the Church there is a series of internal renegotiations triggered by the abuse crisis: between sin and crime; secrecy and publicity; justice and mercy; laity and clergy; Rome and the local churches."
He continued: "The biggest and epoch-making consequence is the huge renegotiation of the relations between Church and state, in different ways in different countries of global Catholicism."
Christopher Lamb, the Tablet's Rome correspondent, broadly agreed. In a March 19 analysis piece, Lamb wrote: "Pope Francis's refusal of the resignation of French Cardinal Philippe Barbarin underscores how the abuse crisis is reshaping the relationship between Church and state." He explained the decision to keep Barbarin at least nominally in his see as the result of Roman reluctance to "being seen to pick and choose between the judgments of the civil authorities".
Faggioli and Lamb are both right. There remains, however, a fact for which their analyses do not account: namely, that Pope Francis had given himself an out. He need not have found himself in this spot. He need not have brought us here.
In 2016, Pope Francis introduced new legislation, touted as a typically pragmatic and "Franciscan" work-around, ostensibly designed to bypass the cumbersome process of removing negligent bishops by means of full ecclesiastical trial. The apostolic letter motu proprio, Come una madre amorevole ("As a loving mother"), provides for the investigation, suspension and eventual removal of bishops for mere negligence. "The diocesan bishop or eparch can only be removed if he is objectively lacking in a very grave manner the diligence that his pastoral office demands of him," the document reads, "even without serious moral fault on his part." It further states: "In the case of the abuse of minors and vulnerable adults it is enough that the lack of diligence be grave."
The legal framework of Come una madre is established in very broad strokes, leaving wide latitude for interpretation and implementation. It provides for the investigation of complaints, and it couches the new powers in terms that are respectful of, though by no means deferential to, the rights of local ordinaries (and Religious superiors). Basically, it gives the Pope and competent Congregations within the Roman Curia the legal wherewithal to suspend or remove bishops who have failed in the exercise of their duty to care, even and especially when their failures are not criminal.
Pope Francis and other leading churchmen have repeatedly emphasised the paramount importance of the duty to care, and the non-negotiable character of commitment to sound governance, especially insofar as the safety of minors is concerned.
On the very first day of the recent abuse summit, Archbishop Charles Scicluna told journalists gathered for the daily briefing: "[Come una madre] is actually more about the removal of ineffective leadership, rather than punishing leadership that is not up to standard."
In 2017, Cardinal Barbarin told Le Monde that his handling of cases had not been up to scratch, in essence claiming he had no adequate guidance and no idea what to do on his own. "I realise today," France's senior churchman told Le Monde in 2017, "that my response at that time was not up to the challenge."
Pope Francis could have removed Barbarin then and there. Ezzati's resignation has been on Pope Francis's desk since May last year.
Even without the provisions in Come una madre, any pope could say to any bishop at any point that it is time for him to go, and that he will be going, one way or another. If the bishop agrees to resign, they may then announce they had mutually agreed that bishop so-and-so's leadership, sadly, had not been adequate in specific regards, and that it was time for bishop so-and-so to step aside, for the good of the Church.
That would send a message, indeed – one even Catholic bishops could not fail to hear and take to heart.
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Planned Parenthood's firing of Dr Wen shows the stark choice facing America
The cautionary tale of Pastor Amy
America Comment
Good news for low-income, uninsured mothers


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Pittsburgh native T.J. McConnell almost stopped being a Steelers fan because of Ben Roethlisberger
By Daniel Craig
PhillyVoice Contributor
Sixers T.J. McConnell
Bill Streicher/USA TODAY Sports
T.J. McConnell may decide to return to the Sixers in a reserve role if he cannot find a better situation elsewhere.
I'll save my extended personal thoughts on Ben Roethlisberger for another day. In short, the Steelers quarterback has a long, storied history of being a jerk and, as recently as this past week, continually exposes himself as a jerk.
So, maybe the recent revelation from Sixers guard and Pittsburgh native T.J. McConnell — aka the GOAT who helped will the Sixers to a Game 4 victory over the Boston Celtics on Monday night with the performance of his life — isn't all that surprising.
RELATED: Surprise T.J. McConnell start sparks Sixers to season-saving Game 4 win over Celtics
On Dan Patrick's radio show Tuesday, McConnell was asked about his Pittsburgh roots. Sadly, Teej is a Penguins fan who is bummed about the team getting bounced from the second round of the NHL playoffs but enjoyed the last two Stanley Cups (vomit).
The Steelers, though? McConnell has also always been a fan. But apparently, when he was a kid, he met Roethlisberger, which put his fandom in jeopardy.
T.J.: Um, I met R a while ago when I was little, but, it wasn't too good of an interaction.
D.P.: (laughing): Why, what happened?
T.J.: Um, you know I respect him as a player, but he wasn't exactly the nicest guy. But, I mean, he was being bombarded by people. So, I understand.
D.P.: Did you ask for an autograph?
T.J.: Yeah, I was in 6th grade. We were at like hoops for a cure thing at like my high school. And, you know, he was getting bombarded left and right. So, I completely understand, it was them coming up there for his first Super Bowl.
D.P.: Did you cry?
T.J.: No (laughs). Uh, to be honest I stopped rooting for the Steelers for a little bit after that.
D.P.: Wait did you become an Eagles fan?
T.J.: No, no I didn't. I was a little petty and rooted for some teams in our division and then, now, I've reverted back to a Steelers fan.
D.P.: Wait, did you root for the Ravens?
T.J.: No, I was a Cincinnati Bengals fan for a little bit.
Patrick then suggested McConnell offer to take Roethlisberger to a Sixers game, but McConnell said he didn't think Big Ben would be interested.
#Sixers guard @TJMcConnell was almost not a Steelers fan because of Big Ben. Here's why: pic.twitter.com/DOg4llv59o
— Dan Patrick Show (@dpshow) May 8, 2018
It's a bummer that McConnell didn't switch over to the Birds after his encounter with Roethlisberger. But I applaud the pettiness of rooting for the Bengals.
Read more Sixers T.J. McConnell Pittsburgh Philadelphia Steelers Ben Roethlisberger NFL


To relate, to love, to connect is to be human.
Who among us does not need to be loved and belong?
This course is being held at the beautiful Esalen Institute in Big Sur, California. Please see the Esalen site here for travel information and other tips on how best to plan your stay.
The course begins with dinner at 6:00 pm on Friday, February 15, 2019 and ends at 12:00 pm on Sunday, February 17, 2019.
This retreat intentionally allows plenty of free time. You and your partner are encouraged to explore Big Sur, savor a romantic meal, take a hike, a dip in the hot springs or just enjoy quiet togetherness.
This course is being managed by the Esalen Institute, and both tuition and accommodations fees are paid directly to Esalen.
All meals will be prepared and arranged by Esalen. While focused on plant-based cuisine, daily menus also include sustainable sources of animal protein, as well as gluten-free and lactose-free options. All dishes are crafted on-site, from scratch, using mindfully sourced, natural and organic ingredients. Esalen is happy to work with individual guest to accommodate specific dietary needs.
For the Couples that registered and paid tuition through CMSC, there is a $100 Non-Refundable cancellation fee for tuition applicable at any time. Please contact Esalen for information regarding cancellation fees for accommodations, and for tuition & accommodations if you register through Esalen for the program.
If you registered for tuition through CMSC, your tuition payment (less the $100 non-refundable cancellation fee) will be refunded if we are notified by January 14, 2019 that you need to cancel your registration. And no refunds are available after January 14, 2019, except on compassionate grounds.
In the unlikely event that the course is canceled, CMSC is responsible only for a full refund of the registration fee (if you registered through CMSC for tuition) and not for transportation, hotel accommodations or any miscellaneous expenses.


In addition to the KAA's Celebration of Flowers Show, the Keizer Chamber of Commerce has chosen the Stairway to Heaven iris for the 2020 Iris Festival. In May at the KAA Celebration of Flowers show, the artist whose presentation of this iris is chosen by the Chamber will win $200….and it will represent the 2020 Keizer Iris Festival.
This show will be a really fun one. We look forward to the gallery being filled with lots of "flower" art.
Children ages 4 – 14 are encouraged to enter this show as well.
INTAKE is Wednesday, May 1st, 3 – 6 pm.
Pick up of art Wednesday, June 5th, 3 – 6 pm at the gallery. KAA cannot store or be held liable for artwork not picked up on June 5th, unless prior arrangements have been made. KAA will not hold artwork beyond 30 days and after 30 days the artwork will become the property of KAA.
THE ARTISTS' RECEPTION will be held Saturday, May 4th from 2 – 4 pm. Plan now to attend the reception. The public, artists, family and friends are invited. Awards will be present at this time. Artists who are exhibiting works are encouraged to attend as the public enjoys meeting you and having dialogue with you. There will also be a raffle for many fun items.
Keizer Art Association reserves the right to jury submitted art for suitability and as space limitations mandate. Please refer to guidelines for further details. Each piece entered must have the artist's name, telephone number, medium and the name of the piece on a card that is affixed to the back of the art.
Keizer Art Association reserves the right to jury submitted art for suitability and as space limitations mandate. Please refer to guidelines below for further details. Each piece entered must have the artist's name, telephone number, medium and the title on a card that is affixed to the back of the art.
2D are typically two dimensional pieces, such as: watercolor, oil, acrylic paintings, mixed media, or colored pencil.
3D typically show width, height and depth, such as: fabric art, carving, modeling, or welding materials into a work of art (for example, a sculpture).
Photography – Any image created within the confines of a camera and using camera related adjustments in post processing for lighting, contrast, color, sharpness, cropping, etc.
Kid's Art – Any of the above mediums entered by children 4 – 14 years of age.
Digital Art – Includes photos edited and changed artistic filter adjustments in post processing, photo painting, digital collages, integrated art, digital painting, or any other artistic rendition using computer and software.
All work must be original to the artist.
All mediums are acceptable and it is open to all artists.
Edges of unframed wall art must be suitably finished (no visible staples/jagged edges).
Wall art must have a sturdy hanger. Examples of acceptable hangers which must be compatible with our hanging system: A wire in the top third of the piece of art or another built in hanger in the back of the piece of art. Sawtooth hangers are not acceptable. When there is a question regarding the appropriateness of the hanger, one of the board members at intake will try to hang the art. Their decision to accept or reject the hanger will be final.
2-D work must not exceed 48" x 48". 3-D work must be freestanding and less than 50 lbs.
Jewelry and other small objects should be displayed in a secure, professional manner.
Artwork exhibited in this gallery within the past two years is not acceptable.
Up to four entries per artist are permitted.
Entry back must have card with artist's name, telephone number, medium and title.
This exhibit is juried and ribbons will be awarded for best of show, first, second and third place and honorable mention in each of these categories: 2-D art, photography, 3-D art, digital art and kids' art. The decision of the judge(s) is final. A $50 award will be given to the artist of the best of show.
Members: $10 for first piece; $15 for two pieces; $15 for diptychs and triptychs (a single work of art displayed on two or three panels}; $20 for three pieces; $25 for four pieces. Poster contest entries – $5.
Non Members: $20 for first piece; $25 for two pieces; $25 for diptychs and triptychs; $30 for three pieces; $35 for four pieces.
Youth: $5 for up to two pieces. This division is open to all youth (14 years old and younger).
Commission fee for sales is 60% to the artist and 40% to KAA.
A signed Entry Form and fees must accompany your entry. Entry Forms are available on our website, at the gallery or requested by email.


Are you an amazing entrepreneur or organisation in North, Central or South America doing world-changing things? Or do you know of one?
Throughout our trip we'll be visiting as many innovative organisations as possible to learn how business is being used to change the world for the better.
We are looking to profile innovative businesses that are using their work as a force for good. We are focused mainly on entrepreneurs whose work fits into one of the following categories: Education, Empowerment, Energy or the Environment. However, we're always happy to hear from individuals and organisations who may not fit into these categories.
Are you one such organisation, or do you know of one you'd like to recommend? Get in touch!
We'd love to visit your business, or suggested business, during our expedition. Visits could be as short as a day or as long as a month - whatever works best. In return for letting us into your world,and helping us to understand what makes your organisation tick, we'll be able to promote your business to other like-minded individuals and organisations. We'll do this in a number of ways, including through our social media platforms and the various projects we are working on to document our trip - such as a documentary, photography and a book.
Interested in finding out more? Contact us here.


Parents & Carers are invited to bring along their pre-school children to share in a variety of activities including: Open play - singing - painting - colouring - arts - crafts - quarterly 'toddler praise'. (half-termly fee).
Any enquiries about places should email Janet Harvey and provide a contact telephone number on the email.


Martin leads on IEMA's policy and external engagement activity. He works in the UK, and internationally, to support the transition to a low carbon, resource efficient and sustainable economy.
Martin is head of the UK delegation to the International Organisation for Standardisation (ISO) committee on environmental management standardisation, which develops global standards in environmental management systems (EMA), auditing, environmental labelling, life-cycle assessment and carbon and water footprinting. He is Chair-Elect of the ISO committee responsible for EMS-related standards.
Martin chairs the European Standards Body (CEN) Strategic Advisory Body on the Environment environmental management team, and represents the UK on the European Commission Eco-Management and Audit Scheme (EMAS) regulatory committee.
Martin is a board member of the Society for the Environment (SocEnv) and a member of the SocEnv Registration Authority.


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Mississauga Festival Youth Choir
a positive musical experience for all children
About MFYC
MFYC's Artistic Staff
À propos de MFYC
Acerca de MFYC
密市欢庆青年合唱团
Support MFYC
Our Famous Fundraisers!
Choristers Corner
Home > MFYC's Artistic Staff
Presenting The Mississauga Festival Youth Choir Artistic Staff
Katherine Ilson Dickey : Artistic Director
Katherine received her Honours Bachelor of Music (Education) and Bachelor of Education from Western University. She has years of experience teaching both vocal and instrumental music in a private school setting. She teaches piano in her home studio and is an accompanist for private vocal students and the music department at Cawthra Park Secondary School. She is a member of the Creative Arts Team at Trinity, Streetsville, where she also worked as Music Director and Children's Ministry Director.
Katherine has been involved in community music productions for over 25 years, directing children's musicals, producing music programs for retirement residences and as rehearsal accompanist and vocal coach for musical theatre productions in Mississauga and Georgetown. Recent shows include the Thea award winning The Little Mermaid (Theatre Unlimited, 2017) and the upcoming musical The Producers with Meadowvale Music Theatre for 2018. Her current volunteer projects include Music Director for The Parkland Players and a member of the travelling music ministry "Travelling Light"
Svetlana Kotliarenko : Accompanist
Svetlana Kotliarenko is a native of Kiev Ukraine, where she studied at the Tchaikovsky State Conservatory. She obtained her Master's Degree in Fine Arts, specializing in piano performance.
During her studies at the Conservatory, she received the highly coveted First Prize in the National Competition.
Since moving to Toronto, Svetlana pursued a musical career in a variety of avenues. Currently, she is the Music Director at St. John's United Church in Oakville, teaches piano and theory in her private studio, and is the accompanist for the Mississauga Youth Festival Choir.
Abigail Freeman : Assistant Director
Abigail Freeman has been a performer and arts educator for over fifteen years. She has been the featured soloist with with the Heliconian Choir & Orchestra, Canadian Orpheus Male Choir, Arcady and the Brantford Symphony and the Brott Festival, the Mississauga Choral Society, Counterpoint Chorale, the Cathedral Bluffs Symphony Orchestra, and the Georgetown Bach Chorale.
On the operatic stage she has appeared as the Queen of the Night and Papagena (The Magic Flute), Despina (Cosi fan tutte), Zerbinetta (Ariadne of Naxos), Annchen (Der Freischutz), Blonde (Die Entfuhrung as den Serail), Ophelia (Mark Richards' Hamlet) and The Chair (A Chair in Love). She also frequently performs with Windmill Theatre. Ms Freeman is currently the Music Director at the Unitarian Congregation in Mississauga where she leads an adult mixed voice choir. She has also worked as the Vocal Teacher and Choir Director for the Froebel Education Centre and has been a choral singer herself since childhood, having sung with the Elora Festival Singers, Arcady, the Mississauga Choral Society, the Toronto Children's Chorus, the Holy Family Oratory Choir and the MacMillan Singers. Freeman completed a Bachelor of Music Degree from the University of Toronto (Canada) and a Master of Music Degree from Binghamton University (United States). She currently also teaches voice, piano and theory in her own private music studio
Myroslava Horich : Rehearsal Volunteer
Graduated with a Bachelor of Music degree from McGill University, then received her teaching certificate from Ottawa Teachers' College.
She worked as an itinerant vocal music teacher for the Toronto Catholic District School Board from 1981 – 2013, entering her school choirs regularly into the TCDSB music festivals. And was a Choirmaster at St. Mary's Ukrainian Catholic Church in Mississauga from 1988-2000.
Currently retired and seeing her granddaughter's enthusiasm in singing with the MFYC over the last two years prompted Myroslava to continue in her love of choral music, and to volunteer in the capacity of rehearsal assistant.
Hilary Menezes : Conducting Intern
Hilary joins MFYC for the 2018/19 season, and we are delighted that she will share her enthusiasm, and expertise with our young choristers. Now in her final year as a Vocal Major at Cawthra Secondary school, Ms. Menezes has been a chorister in numerous choirs throughout her school years, and is a member of the prestigious Les Belles Classiques, and the Senior Concert Choir.
Outside of school, she is a member of the Peel Senior Honour Choir and the Mississauga Summer Chorale. Hilary has both her RCM Grade Seven Piano and Grade Six Vocal exams, which she passed with exceptionally high marks, and as a result was honoured with the IEP Music Studio's Outstanding Student Award.
"Working with young students is something I absolutely love! I feel I have the skills, experience, and passion necessary to motivate and encourage youth to reach their full musical potential. My plan is to attend university and to study music and humanities, after which I plan to attend Teachers College with the goal of becoming a music teacher. I am definitely a "people person", and I look forward to working in a profession that allows me to give back to my community, and to inspire young students as I have been so encouraged by the amazing music teachers I have known. I look forward to a fantastic season"
Upcoming Events MFYC
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We can be reached at 905-267-1101
P.O. Box #174
2325 Hurontario St.
Mississauga ON L5A 4K4
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text:
package blackberry.web.widget.caching;

import org.w3c.dom.Document;

import net.rim.device.api.browser.field2.BrowserField;
import net.rim.device.api.script.ScriptEngine;
import net.rim.device.api.web.WidgetConfig;
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import blackberry.web.widget.bf.BrowserFieldScreen;

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    private BrowserFieldScreen _bFieldScreen;

    public String[] getFeatureList() {
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        result[ 0 ] = "blackberry.widgetcache";
        return result;
    }

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            scriptEngine.addExtension( WidgetCacheNamespace.NAME, _bFieldScreen.getWidgetCacheExtension() );
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redpajama_set_name: RedPajamaGithub


text:
Deep Dive: Vocal Arrangement
Learn John's tricks for vocal arrangement—and how chord progressions can guide your composition.
Topics include: Deep Dive: Vocal Arrangement
Teaches Songwriting
John Legend, the EGOT-winning music icon and coach on "The Voice," teaches you his process for creating music with impact.
2. Songwriting With Melody
3. Song Structure
4. Choosing Subject Matter
5. Developing Your Musical Point of View
6. Making a Movement: "Glory" Song Study
7. Finding Your Artistic Voice and Style
8. Writing Lyrics: Communicating Your Message
9. Writing Lyrics: Using Themes & Motifs
10. Making Lyrics Your Own
11. Becoming "Promiscuous Collaborator"
12. Blending Musical Genres
13. Recording Lead Vocals
14. Recording Background Vocals
15. Deep Dive: Vocal Arrangement
16. Finishing Your Song: Editing
17. Performing Live
18. Bonus: Advice for Aspiring Songwriters
- So let's talk about arranging the vocals and the chords. So you do have to have some kind of either theoretical or just instinctual understanding of what a chord is, what the notes that comprise a chord are, for you to understand how to arrange vocals within that chord. Different chords, whether major or minor, can communicate different emotions to your listeners. For example, b-flat major can convey love, hope, and optimism for the future. So my song "Free" is in b-flat. And a lot of the chords are b-flats, or e-flats, or a-flats. And these are all part of the structure of a song that's in b-flat major. And so when I'm choosing harmonies within any given section, I'm trying to match the harmonies that the vocalists are singing with the chords that are the foundation of the song. So when I'm in a part of the song that the chord, that the piano is playing, is a b-flat major chord, then I pretty much want my backing vocalist to be singing notes that are right within that chord. They could be singing the bop, bop, bop, bop. So those are the triad and the octave of that chord. They fit within that chord. And if they're singing there, it'll sound pretty good usually. And if you start to deviate, you can do like the fourth. Or you can do the sixth of that chord sometimes, and that can be effective. But a lot of times the most effective way to sing on a chord is to sing those important notes within the chord, which are usually the tonic, which in this song would be the b-flat. And then usually the third above that would be the d-natural. And then the f-natural would be the fifth. And usually that's what most people consider the chord. Sometimes you'll throw a fourth in there, which would be the e-flat. Sometimes you'll throw a sixth in there, which would be the g. Sometimes you throw a 7 in there, which would be the a-flat. Or you could throw a major 7 in there, which would be the a-natural. All of those notes could be in the chord, but they can create very different sounds. And by doing that, create very different moods. So they have to make sense in the composition of what you're trying to say musically. And you can kind of tell when you hear it when it's off. And so you have to think about chord structure and the notes that comprise a chord when you're thinking about how do I harmonize in my backing vocals. When I bring in backup singers, which I like to do a lot. I like to have female voices on my songs a lot. And so I will sing a demo version of the song. And I'll usually sing all the parts that I expect the backing vocalists to come in and do. But I'll sing them in falsetto. And falsetto is that higher part of your voice. Sometimes they call your head voice. That's falsetto. Heee. That's my more natural voice. Chest voice we call it. So when I am singing the parts that I intend for a female backup singer to sing, then I'll usually singing in my falsetto. And then I'll bring them in usually in anot...
When 12-time Grammy winner John Legend released "Free" in the wake of the invasion of Ukraine, he called it a prayer for peace. Now the recipient of the first-ever Recording Academy Global Impact Award teaches you how he wrote and recorded the song—and his process for creating hits like "All of Me" and "Glory." Layer melodies and lyrics, develop your musical point of view, and make music that makes the moment.


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Q: notation in navier stokes equation I am reading navier stokes equation. And I got stuck at the very begining. It says when the vector field u is smooth and divergence-free, we have $$u\cdot \bigtriangledown u=div(u\otimes u)$$ And the navier stokes equation can be written as $$\partial_tu+div(u\otimes u)-v\bigtriangleup u=-\bigtriangledown p$$$$divu=0$$$$u|_{t=0}=u_0$$I don't quite understand the meaning of $\otimes$ here. So I also don't understand why we have $$u\cdot \bigtriangledown u=div(u\otimes u)$$ Thanks for any help!

A: The symbol $\otimes$ is the tensor product which you can read more about on Wikipedia. If you think of the vectors $u$ and $v$ as column vectors (3x1 matrices if we are talking about 3D space) then the tensor product $u\otimes v$ can be thought of as a square matrix (3x3 in the 3D case) whose entries are all the products of the individual entries of the vectors. So, in components:
$$(u\otimes v)_{ij} = (u)_i(v)_j$$
The dot product between a vector and a tensor works like matrix multiplication, transposing the column vector to a row vector if it comes before the tensor, so that the dimensions work out. The result is a vector. (I will get back to how that looks for this case in a bit.)
The symbol $\nabla u$ is also a tensor, the gradient of a vector. Its components are the partial derivatives of the components of the vector, as so:
$$(\nabla u)_{ij} = \frac {\partial (u)_j}{\partial x_i}$$
Viewing this tensor as a matrix, the divergence of the vector $u$ is equal to the trace of the tensor $\nabla u$. $$div(u) = \sum_{i=1}^3 (\nabla u)_{ii} = \sum_{i=1}^3 \frac {\partial (u)_i}{\partial x_i}$$
Finally, by analogy with this, the gradient of a tensor would be a higher-dimensional array of components (a 3x3x3 array) and the divergence of a tensor would be like the "trace" of this array - the result is a vector. For $div(u\otimes u)$, this ends up looking like this in components:
$$(div(u\otimes u))_j = \sum_{i=1}^3 \frac {\partial (u\otimes u)_{ij}}{\partial x_i} = \sum_{i=1}^3 \frac {\partial ((u)_i(u)_j)}{\partial x_i}$$
If we find the components of $u\cdot \nabla u$ by doing the multiplication between the vector $u$ and the tensor $\nabla u$ as so:
$$u\cdot \nabla u = u^T\nabla u$$
$$(u\cdot \nabla u)_j = \sum_{i=1}^3 {(u)_i(\nabla u)_{ij}} = \sum_{i=1}^3 {(u)_i\frac {\partial (u)_j}{\partial x_i}}$$
Then you should be able to see that $u\cdot \nabla u =div(u\otimes u)$ precisely when $div(u) = 0$.

A: If $\vec u$ is divergence free, then $\nabla \cdot \vec u=0$.  Now, we have
$$\begin{align}
\vec u\cdot \nabla \vec u&=\nabla \cdot(\vec u\otimes \vec u)\\\\
&=\left(\sum_{i=1}^3\hat x_i\frac{\partial }{\partial x_i}\right)\cdot \left(\sum_{j=1}^3\hat x_ju_j\sum_{j=1}^3\hat x_ku_k \right)\\\\
&=\sum_{i=1}^3\sum_{j=1}^3\sum_{k=1}^3\hat x_k(\hat x_i\cdot\hat x_j)\left(u_j\frac{\partial u_k}{\partial x_i}+u_k\frac{\partial u_j}{\partial x_i}\right)\\\\
&=\sum_{i=1}^3\sum_{j=1}^3\sum_{k=1}^3\hat x_k(\delta_{ij})\left(u_j\frac{\partial u_k}{\partial x_i}+u_k\frac{\partial u_j}{\partial x_i}\right)\\\\
&=\sum_{j=1}^3\sum_{k=1}^3\hat x_k\left(u_j\frac{\partial u_k}{\partial x_j}+u_k\frac{\partial u_j}{\partial x_j}\right)\\\\
&=\sum_{j=1}^3\sum_{k=1}^3\hat x_k\left(u_j\frac{\partial u_k}{\partial x_j}\right)+\sum_{j=1}^3\sum_{k=1}^3\hat x_k\left(u_k\frac{\partial u_j}{\partial x_j}\right)\\\\
&=\sum_{j=1}^3\left(u_j\frac{\partial }{\partial x_j}\right)\sum_{k=1}^3\hat x_ku_k+\sum_{j=1}^3\left(\frac{\partial u_j}{\partial x_j}\right)\sum_{k=1}^3\hat x_ku_k\\\\
&=\vec (u \cdot \nabla)\vec u+\vec u \nabla \cdot \vec u\\\\
&=\vec (u \cdot \nabla)\vec u
\end{align}$$
as was to be shown!

A: It means a sort of "dyadic product" (it's really a tensor product, but that's not relevant): in index notation,
$$ (u \times v)_{ij} = u_i v_j. $$
Therefore, what it means is that (in summation convention)
$$ (\operatorname{div}(u \otimes u))_i = \partial_j (u_j u_i ) = (\partial_j u_j) u_i + u_j \partial_j u_i = ((\operatorname{div} u) u)_i + ((u \cdot \nabla) u)_i, $$
and the first of these is zero because we imposed $\operatorname{div}u=0$. The idea about $\otimes$ here, then, is that the product rule for derivatives looks like
$$ \nabla \otimes (u \otimes v) = (\nabla \otimes u) \otimes v + u \otimes (\nabla \otimes v), $$
and then you take a trace to get the divergence.


text:
Defining Mountain Style in the Place Beyond the Pines
Jackson Family Wines
by TVP Team
TVP Team
Good Funk: Standard Wormwood Distillery
Meet Sam Teakle and prepare to be captivated by his aura. The Australian-born winemaker is charming, free-spirited, and endearingly humble. But trusting only in his humor and fun-loving façade would mean missing the underlying talent of one of California's rising star winemakers and the depth of his experience.
Photo credit: Captûre Wines
Entering his 22nd harvest this year, Sam has lived as a resident of the globe. Following his intuition – and a series of chance encounters – Sam's path has been shaped by the pursuit of a new adventure, harnessing his energy within the framework of classic wine houses around the world. His résumé reflects a diverse range of global experience. It includes time spent at Alpha Estate in Greece, Hugel & Fils in Alsace, and Yangarra Estate in South Australia's McLaren Vale, each considered benchmarks in their respective regions.
At d'Arenberg in McLaren Vale, Sam got his start as a young winemaking student and was instructed to "forget everything" he knew. He fell in love with the manual aspect of making wine, the adventure, and the unpredictability. "It was like traveling into the past," he says, reminiscing on days spent "jumping into tanks and living on coffee beans – it was a boy's dream."
In 2015, a serendipitous meeting with Napa Valley winemaker Christopher Carpenter led him to the high elevation vineyards of cult Cabernet houses, Cardinale and Lokoya. In the remote landscape of the Mayacamas range, Sam discovered a synergy between his maverick spirit and the freedom of mountain winegrowing.
Six years later, Sam is still digging his heels into the mountain terroir of the Mayacamas, carving a path for Captûre wines in one of California's newest, highest, and most remote viticultural areas. Led by mountain-grown Cabernet Sauvignon and Sauvignon Blanc, he's drawing attention above the fog line to the little-known Pine Mountain-Cloverdale Peak AVA.
"With Captûre, there was a vision and inspiration for the wines, but also the freedom to define a place and its style," says Sam, speaking to the obscurity of winegrowing in the region. "The effort is in listening to the site and discovering what it wants to be, and how that manifests in the glass. But there is no reference point – the vineyard is not like anything else, and so it shouldn't taste like anything else."
Comprising 4,600 acres with only 230 acres (5%) planted to vine, the Pine Mountain-Cloverdale Peak AVA is largely untouched. Sightings of wildlife are more common than people, and the land is encumbered by native scrub, madrones, and oak woodland. Similar to the Mendocino Ridge AVA, the Pine Mountain-Cloverdale Peak AVA is defined by elevation, sitting between 1,600 and 3,000 feet above sea level and straddling Mendocino and Sonoma Counties.
The Captûre label was first established in 2008 by Denis Malbec, the former cellar master of Château Latour, and his wife May-Britt, who left Bordeaux to pursue dreams of making wine in California. With a spirit of adventure, they approached the rugged vineyards of the Mayacamas mountains through the lens of Bordeaux varieties and classic French winemaking techniques. Following the acquisition of Captûre by California's Jackson family in 2014, Sam stepped in to define a new chapter for the wines and Pine Mountain.
Arriving at the vineyard from the base of Pine Mountain takes 30 minutes by car, traversing winding dirt roads and mountain terrain to rise 2,500 feet in elevation – or roughly equivalent to two-and-a-half times the height of the Eiffel Tower. At this elevation, harsh conditions marked by cool winds and intensity of the sun place vines under extreme stress.
With a minimal diurnal shift, budbreak on the mountain takes place one month later than on the valley floor, but vine growth is faster, and harvest arrives sooner. As compared to the valley floor's 120-day growing season from budbreak to harvest, Pine Mountain sees a condensed season lasting just 90 days. Combined with the mountain's thin topsoil, roots burrow deep into the rock to search for water and nutrients, producing wines rich in character and complexity.
Drawing from experience around the world, Sam's integrated approach is defined by low intervention winemaking, yielding wines of restraint through careful tannin and alcohol management. "Mountain fruit already has so much power and tannin that you need to be gentle in the winery," says Sam. With a sensitive hand, he employs regular pump-overs and use of oxygen to soften the powerful character of mountain Cabernet.
With Sauvignon Blanc, Sam aims for less green and more tropical fruit characters, complementing the variety's inherent aromas with lees contact to add depth of texture on the palate. Planted between 2,500 – 2,870 feet, Captûre's Sauvignon Blanc is among the highest planted in the United States. As a young wine, the Sauvignon Blanc can be intense in its mountain character but decanting the wine or allowing time for it to open in the glass helps to reveal its elegant, rocky minerality.
"Not many people know Captûre or Pine Mountain, so it's given us free-range to let the terroir speak for itself," says Sam. Over the last six years, his hands-off approach has been "a process of discovery in what the site has to offer," culminating in a style that is defined by elevation and mountain terroir.
True to his character, Sam fundamentally understands wine as a way to enhance an experience. He produces wines that he wants to drink and that others will enjoy, seeking the middle ground between ageability and "drink now" approachability. At his core, he still sees himself as "a kid from Adelaide, trying to forge [his] own path," but his vision to raise the profile for Pine Mountain shows the strength of his ambition. In continuing to define the profile of Pine Mountain, Sam marries the seriousness of high elevation winegrowing with his fun-loving spirit of exploration, offering a new lens to the personality of place – and winemaker – along the way.
TVP Team May 31, 2021


This is to all who travelled on Flight MON2018 on the 21March 2010.
You have to write to Monarch Airlines telling them that you departed from Gatwick to Male on 21 March 2010 on Flight Number MON2018 which was delayed over 5 hours, the Booking Reference RK76426 you are claiming for a delayed flight above. You will need copies of your passport, boarding pass for each person, don't worry if you havn't your boarding pass, it was 18,515km to Male, if they write back offering less than £500.21p, then reply saying Mr Kenneth Graham, Mr Philip Standing, and Mr Barry Turner received £500.21p per person, they will say it was a admin error then pay £500.21p per person.
Hi Kenneth, thanks very much for the gen. Will try Monarch and see what happens.
Jump To:--- Main ---RAF GAN Reunion 2015RAF GAN 2015 Reunion.


text:
The 2018 Africa Men's Sevens was a rugby sevens tournament held in Monastir, Tunisia on 13–14 October 2018. It was the 6th championship in a series that began in 2013.

Pool stage

Pool A

Pool B

Pool C

Pool D

Knockout stage

Cup

Plate

9th Place

Standings

References

2018
2018 rugby sevens competitions
2018 in African rugby union
rugby union
International rugby union competitions hosted by Tunisia

redpajama_set_name: RedPajamaWikipedia


text:
Q: Проблема с перебором, list object has no attribute Помогите с проблемой, есть две функции: ping_complexes - пингует оборудование и добавляет статус в базу данных, вторая функция - check_stats, она должна перебрать все строки в базе данных, и те элементы, где Status = 'Online' - у них спарсить статистику
ping_complexes работает хорошо, а вот на функции check_stats выдает ошибку: ??? 'list' object has no attribute 'Status'
app = Flask(__name__)
app.config['SQLALCHEMY_DATABASE_URI'] = 'sqlite:///mangust.db'
app.config['SQLALCHEMY_TRACK_MODIFICATIONS'] = False
db = SQLAlchemy(app)
today = str(date.today())

class Mangustes(db.Model):
    id = db.Column(db.Integer, primary_key=True)
    address = db.Column(db.Text, nullable=False)
    ip = db.Column(db.Text, nullable=False)
    serialNumber = db.Column(db.Text, nullable=False, primary_key=True)
    Status = db.Column(db.Integer)

    def __repr__(self):
        return '<Mangustes %r>' % self.id

def ping_complexes(row_size):
    try:
        records = Mangustes.query.limit(row_size).all()
        for record in records:
            if ping(record.ip) in (None, False):
                record.Status = 'Offline'
            else:
                record.Status = 'Online'
        db.session.commit()
    except Exception as e:
        print("???", e)

def check_stats(row_size):
    try:
        records = Mangustes.query.limit(row_size).all()
        for record in records(records.Status == 'Online'):
            url = 'http://' + record.ip + ':8200/api/v1/detection_storage/get_detections_stat?datetime_start=' + today + 'T00:00:00%2B05:00&datetime_end=' + today + 'T23:59:59%2B05:00'
            response = requests.get(url, timeout=5)
            forparse = response.json()
            all_detections = (forparse["statistic"]['all_detections'])
            if all_detections != 0:
               record.Status = 'Online'
            else:
               record.Status = 'NoStats'
               db.session.commit()
    except Exception as e:
        print("???", e)
ping_complexes(19)
check_stats(19)

Попробовал описать функцию так, но вылетает если нет ответа от сервера, если API недоступно, except ConnectionError не срабатывает, или срабатывает некорректно, ошибка:

requests.exceptions.ConnectionError:
HTTPConnectionPool(host='10.200.237.178', port=8200): Max retries
exceeded with url:
/api/v1/detection_storage/get_detections_stat?datetime_start=2022-08-23T00:00:00%2B05:00&datetime_end=2022-08-23T23:59:59%2B05:00
(Caused by NewConnectionError('<urllib3.connection.HTTPConnection
object at 0x000001FFF8B01340>: Failed to establish a new connection:
[WinError 10061] Подключение не установлено, т.к. конечный компьютер
отверг запрос на подключение'))

def check_stats(row_size):
    records = Mangustes.query.limit(row_size).all()
    for record in records:
        try:
            if record.Status == "Online":
                url = 'http://' + record.ip + ':8200/api/v1/detection_storage/get_detections_stat?datetime_start=' + today + 'T00:00:00%2B05:00&datetime_end=' + today + 'T23:59:59%2B05:00'
                response = requests.get(url, timeout=5)
                forparse = response.json()
                all_detections = (forparse["statistic"]['all_detections'])
                if all_detections != 0:
                    record.Status = 'Online'
                else:
                    record.Status = 'NoStats'
            else:
                print(record.ip, ': Что-то оффлайн')
            db.session.commit()
        except ConnectionError:
            print(' Нет подключения к порту 8200')

check_stats(19)

A: Получилось решить самому, получился такой код:
def check_stats(row_size):
    records = Mangustes.query.limit(row_size).all()
    for record in records:
        try:
            if record.Status == "Online":
                url = 'http://' + record.ip + ':8200/api/v1/detection_storage/get_detections_stat?datetime_start=' + today + 'T00:00:00%2B05:00&datetime_end=' + today + 'T23:59:59%2B05:00'
                response = requests.get(url, timeout=10)
                forparse = response.json()
                all_detections = (forparse["statistic"]['all_detections'])
                if all_detections != 0:
                    record.Status = 'Online'
                else:
                    record.Status = 'No driveways'
            else:
                print(record.ip, ': Offline')
        except Exception:
            record.Status='No connection 8200 port'
            print(record.ip, 'No connection 8200')
    db.session.commit()