Whatever reason you need storage we have the solution here for you. With a variety of services we aim to make your stay simple and safe. We offer Personal Storage, business storage and sell a range of packaging materials. We don't just offer self storage, we're also a DHL Service Point so you can send & receive parcels here in store.


Thanks for the great review! We really appreciate you taking the time to try it out. We have a promo code for anyone that reads this blog by BritishFamily; BC TEN for 10% off order.
Bit worried about the video pic of a girl's long hair! Does it shampoo too? Where can you buy it, only online?
Use the Promocode: BC TEN for 10% off!
Cant get the code to work, anyone else havign problems.?
Hi Mark – Hang tight and I will get in touch with Brill.
Hi Mark – sorry that you couldn't get the code to work. We must have had a technical problem, I've just had a look and it's working now, please enter BCTEN (without a space) and that should be fine. Any problems please drop us an email; enquiries@brillcleaner.com and we can help you from our end!


what is it? Heap Layers provides a flexible infrastructure for composing high-performance memory allocators out of C++ "layers". Heap Layers makes it easy to write high-quality custom and general-purpose memory allocators.
Heap Layers contains a number of ready-made heap components that can be plugged together with minimal effort, and the result is often faster than hand-built allocators. The "Composing High-Performance Memory Allocators" paper below has plenty of examples.
Very importantly, we've shown that Heap Layers can substantially outperform its only real competitor, the Vmalloc package from AT&T (the "Reconsidering Custom Memory Allocation" paper has more details). Not only is Heap Layers much higher level and simpler to use, but its clever use of templates also improves performance. Heap Layers both eliminates the function call overhead imposed by Vmalloc layers and yields higher quality code by exposing more optimization opportunities.
software Download the latest release: Heap Layers 3.4.0.
Heap Layers has been tested under Linux, Solaris, and Windows. We've released Heap Layers under the GNU Public License.
Also available is the benchmark suite used in the paper below, and previous versions: Heap Layers 0.2 (Zip, Tarball).
Subscribe to this list to be informed of updates and bug fixes for Heap Layers.
This is a mailing list for Heap Layers-related discussions.
This material is based upon work supported by the National Science Foundation under Grant No. CNS-0347339 (CAREER). Any opinions, findings and conclusions or recomendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation (NSF).


I came across the name Wealthy a lot. Also, Worthy and a lot of other strange names. One of the most odd, but I found it in the south..was Orange.
I was really very tempted to make a list of the unusal names, but thought it would slow me down, in indexing. I could do that now, tho, since I am arbitrating and mostly just have to click. Maybe I will do that when the trento baptism project is done.
I found the most odd names in upstate NY. More unusual, than in the southern states.
Just goes to show why our area was called the "Burned Over District" in the 1800s - so many religious movements and fervent - many accepted but many also condemned. Many of the names came from the Bible or other stories.
The Oneida Community (free love, etc) to the Fox Sisters (clairvoyants) in Moravia to Jemima Wilkinson's Publick Friends and of course, Joseph Smith & Brigham Young with the Mormon Church. Makes for interesting reading, especially since the sites are still here.
With Wealthy, I just keep imagining the conversations when he was in school or courting a young lady.
So many times I get distracted like this when reading some of these documents. I come up with some idea and I started making lists and yes, it slows me down alot! When doing something like this you need to stay focused and that is so hard sometimes.
I agree..I can only imagine!
I am making a list while doing these baptisms...but, only so I can check on the spellings of the names, when I get to one that has just a blob for one of the vowels within the name. Usually, that would be a, o and e. I may as well put the right one..if you cant tell which it is. It isnt slowing me down in arbitration. Thats just clicking, mostly.
I have to do some lookups from time to time...usually a location, when I am doing 1945 florida state census. You cant always tell the city name and I will get two people spelling it differently. I am not familiar with some of these places, so i google it to get the proper name.
With the baptisms...I sometimes cant help myself from looking up words.
The arbitrating goes very very fast. I could probably reach the same total as what I indexed, in less than half the time.
Getting back to names, even the italians have their oddball names. Normally, the same names go round and round. But, from time to time, you get a name that you have never heard of before...and I have read thousands and thousands of records.
Cathy showed me this site that I find helpful. Not sure if you can use it but here it is anyway.
Another great site to add to my collection - getting very confused though about where I put them.
The ancestor chart I was sent for my maternal grandmother has the first names following the naming custom, but before the 1800s, there are first names that are not in the most recent generations: Aurelia, Elisabetta, Giovanna, Feliciano, Giambattista, Isidoro and others.
Some are common and appear later, like Maria, Teresa, Anna.
I thought Geltrude was a typo, but found a Sister Geltrude in one of the Maggio books.
Naturally, they were Americanized here. One aunt changed my (foster/2nd cousin) mother's name from Antonia to Antoinette, two aunts from Chiara to Carrie and Incoronata to Ida. Chiara is found throughout, starting in 1736.
Off to wander around the website Cathy submitted - thanks to her and Nuccia.
Our parents just wanted to be more American. My birth father was Mario, but his diary says Marty; birth mother shortened hers to Josie. There were 7 boys in my father's family and not one name after grandpa Emilio, nor grandsons and there are a ton of them.
I wasn't baptized until 6 months later because they were arguing about the name - Emilio was not on the table for my mother, but middle name ended up as Emery - I have been thinking of changing it to Emilio lately.
There seems to be a (strange) custom of changing Vincenzo to Jim when immigrating. Others have posted about this (Biff) and I can't find a good explanation for a link between the two names. A book at the library gave one but it did not make sense to me.
You should keep notes on what you find - it would make a good book or blog entry, etc. Think of the history.
I have heard of Lodovico before. I believe is has Slovakian roots. I also think this may have been my husbands birth fathers name. He later changed it to Louis when he came to North America. I haven't had time to really look into this side of the family but one day I will have to.
Baldassare I have heard as a surname before (Baldassara actually) but never as a first name.
I have always found this a strange translation myself. The common thought is that Vincenzo..Cenz sounds like James. I have never met any Italian in Toronto that is named Vincenzo that goes by Jim. They are either go by Vincenzo or Vincent, Vince. People don't change their names too much any more. I think because there isn't as much pressure to North Americanize anymore. People seem to take their cultures, names and traditions with them when they come here. Its nice.
For a long time, I thought my husbands grandfather, was guiding us in our research. His name was Vincenzo.
Very early on in my research (16 years ago) we ordered, I think it was the 1910 census. My husband and I were together...and we were looking for Vincenzo. I had the proper film for the last name and it was a matter of scrolling thru the first names. We had to get to the V's. Hubby scrolls, stops..he is on C. He continues to scroll, lands on F. He scrolls again, lands on J and was about to go again when I said wait. Right smack in the center of the screen, was Their surname..with all of his aunts and uncles...but his grandfathers name wasnt Vincenzo, there..it was James.
Both my husband and I, totally forgot that many Italian men used James when they were Vincent. I knew quite a few, growing up that were Jimmie.
If we had not accidently landed on that, we would have never found him. We would have gotten to V, he wouldnt have been there and we would have never thought to look for him as James. The other censuses, were also James. But his passenger record, naturalization and death cert are vincenzo. He has some grandsons named vincenzo..and some are James. The vincenzo grandsons are called Vinnie.
About a year later, I was finally able to get a death certificate for vincenzo..and it listed his town as Paduli. I remembered that printout..so I took it out to see it.
Paduli was 4th up from the last name we copied.
Funny about that Vincenzo/James connection: I had been trying to trace the family of a friend (Jim Vivenzio) whose father was called Jim but actually Vincenzo after the grandfather. He kept saying Padula and my mother said another part of the family (who are related to Jim as well - the grandmother remarried into her brother-in-law's family of Impaglia) also said it was called Padula.
I could not find the family in Auburn, but when Jim mentioned they had been in Pennsylvania, within 10 minutes, I found them in Hazle Town, PA, along with the Impaglias.
There is a link to an Excel spreadsheet of over 1200 names of immigrants from Paduli. Click on LIST/ELENCO at the left- note the Australia link too.
And if you have any info, please let us know.
Thanks Dave, but I have been there. Matter of fact, Lori and I thought we had a connection. We had the same name, from the same town, but never found a connection. The surname was that of Vincenzo's nephew. And by the way..my Vincenzo is not far from that part of PA. They were from a town called Old Boston Settlement, which is now known as Avoca. I believe thats not far..or is it hazelton?
Vincenzos surname was D'Alessandro. I dont even have a proper surname for the wife. Every document came back with close..but not exact spellings. I couldnt even find her on a ship manifest, even tho she traveled with her young son 2-3 years old, maybe. Of course, he has the D'Alessandro name, but they probably just listed him as figlio giuseppe. I cant trace them in Italy, either, because of that gap in time, we all suffer. I have his parents names...but, without being able to fill the gap..I got nowhere.
I am so anxious for ancestry to get the towns of both my mother and my husbands mother. I would love the pleasure of being able to do this research, from my own home. You can do much better searches with a time restriction.
I bet if we DNA swabbed all of Paduli, we would find our connection, Eleven, LOL. I know from the other Paduli people with a Limongelli connection that even if we can't make the connection with paper, we have circumstancial evidence of a relation like the same ancestral profession (blacksmith or bricklayer for the Limongelli family).
Baldassare was the first name of a relative of mine from Calabria. It is from the name of one of the 3 wisemen, Balthazar. I had never heard of it until I found him in my tree.
Dave, Alex is out of the country now, but if you want to contact the president of the Paduli club in Italy, I can give you his e-mail. He speaks somewhat fluent english.
In these trento baptisms, many of the parents have the identical surname. I know, in my husbands family, we found two sets of second cousins that married...meaning, the husband and the wife, both had the same great grandparents. Because there seems to be so much of this in trento..I am wondering if even first cousins married there.
Oh well, Eleven, I hoped it would help. The census for Jim's family in Pennsylvania says Hazle Township - this may be Hazelton now or it is in the township.
I knew about Balthazar/Baldassare and checked the Britannica for Polycarpo and found St. Polycarp, a Greek bishop who was martyred in the 2nd Century.
We noticed in the Testa chart surnames on both sides of the family and another Testa family actually had the same surname marrying.
In Theresa Maggio's book on the Sicilian towns, she says people were marrying their first cousins because they were the only people they could trust - due to the Mafia influence.
In these small towns, there are probably a shortage of available spouses.
Reading the Ferro census from 1920 there are my grandparents, then Frank, Tony, Armand, Mario, Robert, Mike and Jim. One problem: Robert should be Albert. I asked him about this and he seemed to skirt the question - maybe he changed his name too.


text:
Holoplot stages immersive sound webinar
Immersive audio has become a significant global trend during the last few years
Europe - Audio technology innovator Holoplot has confirmed details of a webinar that will introduce its 3D beamforming and wave field synthesis technologies.
Taking place on 3 July at 16:00 CEST, the webinar is free but requires registration, which can be made on Holoplot's website.
With high-profile installations in museums, concert halls, and many other public venues, immersive audio has become a significant global trend during the last few years. But it is often the case that immersive sound installations are time-and cost-intensive exercises involving complex audio design work and multiple loudspeaker positions.
Into this emerging market, Holoplot has launched a solution with its technology that offers a simpler and more effective method of delivering immersive sound experiences. In this special seminar, Holoplot will introduce this technology and explain how it can be applied to a wide variety of installations and applications.
Based in Berlin, Holoplot is pioneer in wavefield synthesis and 3D beamforming. Its technology has been applied to immersive audio projects in venues around the world. The current product range is based around the Io audio module, the Eta processing core and the Orbit software interface.
During the webinar, Holoplot will provide an overview of its 3D beamforming capabilities and explore the possibilities of sonic immersion and wave field synthesis. Specific topics to be examined will include: spatial sound reproduction; definitions of 'immersive sound' and other related terms; criteria that can be used to address and improve quality; and the future of immersive sound.
https://info.holoplot.com/designing-immersive-sonic-experiences-with-the-room-acoustics
Martin immersive solution aids researchers
DWR Distribution stages Astera open days

redpajama_set_name: RedPajamaCommonCrawl


← Why you need to detox this fall!
Hi everyone! Jillian (left) and Vanessa (right) here! We are thrilled to be the new owners of Shakti Studio. The energy and community feel of this studio is truly something to be cherished.
Our main focus with Shakti is to continue to build our presence in the community and create a space where all feel welcome.
We would love to hear any comments, questions, and concerns so please feel free to reach out and say hello!
We are both Cape St. Claire residents. Jillian has two children ages 2 and 5, and Vanessa has a 5 year old.
Both of us are dedicated entrepreneurs in the Annapolis area and we continue striving to find new ways to give back to the community that we feel so lucky to be a part of.


Thank you for your continued patronage of our e-Meralco bill facility.
We'd like to inform you that starting December 1, 2018, we will stop sending your bill details via email through this facility. We'd like to share the good news that we have migrated to a new system, Meralco Online beta.
Meralco Online beta will give you the power to access your Meralco account 24/7, from any device.
Please note that you will need to create a new account, which is different from your e-Meralco bill account. To create your Meralco Online account click here.
For further assistance, please email us at customercare@meralco.com.ph or call our 24/7 hotline 16211.


Note: KeySecure was previously named DataSecure, but the Key HSM configuration process is the same for both.
By default, the Thales HSM client process listens on ports 9000 and 9001. The Cloudera Manager agent also listens on port 9000. To prevent a port conflict, you must change the Thales client ports. Cloudera recommends using ports 11500 and 11501.
If state reports !Usable instead of Usable, configure the Thales HSM before continuing. See the Thales product documentation for instructions.
Important: If you have implemented Key Trustee Server high availability, ensure that the Luna client on each Key Trustee Server is configured with access to the same partition. See the Luna product documentation for instructions on configuring the Luna client.
Before completing the Luna HSM setup, run the vtl verify command (usually located at /usr/safenet/lunaclient/bin/vtl) to verify that the Luna HSM is properly configured.
See the Luna product documentation for instructions on configuring your Luna HSM if you do not know what values to enter here.


A mix of small, early types.
Attractive, early-maturing types including a small Apple, Pear, Spoon, Nest Egg, White Crown of Thorns, Yellow Warted, Small Orange, Flat Striped, and others. Avg. 10,200 seeds/lb. Packet: 30 seeds.


Michael Noori pots to 175,000 under the gun. Dmitry Savelyev re-pots in the big blind and Noori commits his remaining 50,000.
The board runs out . Savelyev's queens and sevens are good and Noori is eliminated.


Since the first Bureau gathering in 2012, conversations inevitably turn to managing clients and workflow. Nothing can derail a service company like a project that stalls out. It messes up resourcing, scheduling, cash flow, quality, culture and the client relationship.
If a client deliverable — such as input, approvals, or payment — is late more than 10 business days the project will be considered "on hold." Once the deliverable is received and the project is re-activated it will be rescheduled based on nGen Works' current workload and availability. Just to say it loud and clear, it could be weeks to get you back in the system if the project is put on hold.
1. Our clients would never agree to that.
Hmm … so, your clients think that they should come and go as they please, and you should be at their beck and call? You have bigger issues, mainly that your clients don't respect you and never will. Not until you respect yourself. Your business will suffer from cash flow issues and your personal health will suffer as you stress about every project.
2. We love our clients.
Hey now! We love our clients, too. In fact, the Pause Clause protects good clients and keeps their projects moving and on time. It only impacts the clients who can't make decisions or get things done in a timely manner.
3. Sometimes our clients can't control approvals.
Again, you have bigger issues. Mainly, you're not plugged in at the right level.
Client: We'll stay up to speed on all of our deliverables, no problem there.
Me: That's great to hear. Sometimes it's beyond your control, like legal reviews or content from another source.
Client: Would that cause us to miss our deadline?
Me: Only if those deliverables are late. But, now that you know, you can start preparing for those potential delays.
The Pause Clause is beneficial for both the web shop and the client. It sets expectations and starts a conversation about staying on schedule. Plus, you'll rarely have to use it. Normally an email with the subject line "Pause Clause" is enough to keep things moving. Depending on the nature of the delays, you can be sympathetic and waive the clause or let them know you have to enact it but will do everything you can to minimize the delay.
Looking for strategies to optimize and grow your organization? Join us at an upcoming event.


Digital Design manufactures a complete line of coding & marking equipment. From small & large character ink jet printers to high resolution large character printers, a transport system for bottom coding applications and contact style reciprocating imprinters, Digital Design has the answer to your coding & marking needs. Our newest products are the EVOLUTION line of high resolution & small character ink jet printers. EVOLUTION I is a high resolution printer that has been designed by Digital Design & powered by Hewlett Packard and Lexmark ink jet technology. It features one or two line printing at 300dpi at speeds up to 200 feet per minute. The Lexmark model is capable of either 300dpi or 600dpi and is selectable through the hand held controller. EVOLUTION II is a fully featured high resolution ink jet printer. Also utilizing ink jet technology by H P and Lexmark, it has the ability to print Class A barcodes and graphics on brown corrugated. The Evolution II combines all of the optional software features of the Evolution I and offers them as standard. Plus, the Evolution can print up to 4 lines of text and has 8 of the more popular barcode symbologies built in. Evolution III is the top of the line in the Evolution series. It offers a color touch screen controller with the ability to control up to 8 high resolution printhead modules. It can print alpha/numeric characters up to 1" in height, and graphics or barcodes up to 2" high. EVOLUTION SC is a small character ink jet printer based on Hewlett Packard ink jet technology. It uses a non-porous ink that offers excellent adhesion & dry time on a variety of substrates including poly styrene, HDPE, PVC, shrink and stretch overwarp films & more. And, with the HP thermal printer cartridge, it is virtually maintenance free. Digital Design also offers 4 large character ink jet printers. These printers are valve based and can produce character heights ranging from 1/2" to 1 3/4". Our small character product line is made up of the Econo-Jet SC printer. It is supplied as a complete system including the controller, printhead, product sensor and mounting bracket. The controller allows the user to enter or change messages and to set all of the message parameters such as line speed, print delay, character height and more. A variety of colors are available for the Econo-Jet including black, blue, red and pigmented colors in white, orange and light blue.


A new device has been introduced to the market with the goal of providing dynamic back support for patients suffering from a number of medical conditions. The data for the device comes in the form of biometric devices that have been tracking how patients move and in what ways they need help for their pain.
The device is being produced with the help of a competition, organized by the group known as Noumena with the help of IN(3D)USTRY. The aim is to find and produce a device that will help provide orthopedic back care so that individuals with different medical conditions can not only track their conditions, but be able to heal them as well.
One of the main goals of the device is to provide back support while also incorporating a large amount of mobility and flexibility. This is something that has not yet been met in the industry by any other device. The hopes are that the device can help individuals heal by providing what is known as adaptive super power, to help with the performance of daily tasks from moving furniture to working in a warehouse.
The device incorporates the use of high-performance fabrics and a strong anatomically shaped structure. Wearable biometric devices have been shaping the medical industry for the past year or so and only look to continue with their help in the market.
As mentioned previously, the main goal is to create something that is fashionable but also fully functional for the patient. The device has been selected as the best design in the competition and production will begin once a final production method is met. As the industry continues to increase in popularity, the amount of devices that will change the space will increase as well.


Image Title: Home Depot Bathroom Countertops Laminate With Ideas 9. Post Title: Bathroom Countertops Home Depot. Filename: home-depot-bathroom-countertops-laminate-with-ideas-9.jpg. Image Dimension: 687 x 516 pixels. Images Format: jpg/jpeg. Publisher/Author: Rudolph Bradtke. Uploaded Date: Monday - October 01st. 2018 07:46:52 AM. Category: Architecture. Image Source: hgtv.com. Home Depot Bathroom Countertops Granite Modern Decoration With Remodel 1. Stellar Snow Quartz Countertop Home Depot Bathroom Redecorate Regarding Countertops Prepare 19. Kitchen Appealing Prefab Granite Countertops Home Depot For In Bathroom Prepare 0. Home Depot Bathroom Countertops With Prepare 4. Home Depot Bathroom Countertops Laminate With Ideas 9. Laminate Bathroom Countertops Home Depot Sevenstonesinc Com Pertaining To Designs 12. Bathroom Countertops Home Depot And Furniture Inside Remodel 18. Home Decorators Collection 31 In W Stone Effects Vanity Top Within Bathroom Countertops Depot Plan 16. Awesome Home Depot Bathroom Countertops 12 About Remodel With Regard To Designs 10. Home Depot Vanity Tops Granite Bathroom Regarding Countertops Plan 13.


Each fall we take time to pray for our friends and loved ones who need a relationship with Christ. Next Saturday August 18th, begins our 21 days of prayer for the harvest. Make sure you pick up a couple of our prayer cards on your out today to write down the names of your friends and family.


MINNEAPOLIS, MN, AUGUST 16, 2018 — For the fourth time, tap|QA, a Minneapolis-based IT Services Firm is proud to announce their appearance on the Inc. 5000 List! In 2018, tap|QA ranked #3555 on Inc. Magazine's annual list of America's Fastest Growing Companies.
From 2014-2018, tap|QA experienced a growth rate of 106%. tap|QA joins a rare group of companies to be named to this prestigious list 4 times this decade.
tap|QA is one of the premier Quality Assurance consulting solutions providers in the United States. tap|QA currently works with clients nationwide and internationally, and has provided consulting work for over 800 individuals since their inception. Their specialties include Quality Assurance and Test Automation Strategy, along with consulting and staff augmentation services for manual and automated testing, DevOps, Business Analysis and other facets of Software Quality Assurance.
Founded in 2010, tap|QA has become one of the largest and fastest growing specialized providers of software/system QA and testing services. tap|QA's strategy and staff augmentation service offerings include work around test automation, manual testing, QA / Testing process, DevOps, and business analysis.
tap|QA has now been named to Inc. Magazine's Inc. 5000 List four time, and is also a four-time recipient of the Minneapolis-St. Paul Business Journal's Fast 50 Award for fastest-growing companies in the Twin Cities.
The 2018 Inc. 5000 is ranked according to percentage revenue growth when comparing 2014 to 2018. To qualify, companies must have been founded and generating revenue by March 31, 2014. They had to be U.S.-based, privately held, for profit, and independent (not subsidiaries or divisions of other companies) as of December 31, 2016. (Since then, a number of companies on the list have gone public or been acquired.) The minimum revenue required for 2014 is $100,000; the minimum for 2017 is $2 million. As always, Inc. reserves the right to decline applicants for subjective reasons. Companies on the Inc. 500 are featured in Inc.'s September issue. They represent the top tier of the Inc. 5000, which can be found at www.inc.com/5000.
About Inc. and the Inc. 5000 Founded in 1979 and acquired in 2005 by Mansueto Ventures, Inc. is the only major brand dedicated exclusively to owners and managers of growing private companies, with the aim to deliver real solutions for today's innovative company builders. Total monthly audience reach for the brand has grown significantly from 2,000,000 in 2010 to over 6,000,000 today.
For more information, visit www.inc.com . The Inc. 500|5000 is a list of the fastest-growing private companies in the nation. Started in 1982, this prestigious list of the nation's most successful private companies has become the hallmark of entrepreneurial success. The Inc. 5000 Conference & Awards Ceremony is an annual event that celebrates their remarkable achievements. The event also offers informative workshops, celebrated keynote speakers, and evening functions. For more information on Inc. and the Inc. 5000 Conference, visit www.inc.com.


In the summer tire test in its latest issue (No. 6/18), auto motor und sport tested eleven 225/45 R 17 tires. And the PremiumContact 6 from Continental emerged with a "recommended" rating. After the tests, the experts praised the tire's steering feedback on wet roads, good precision and strong cornering grip. Its "fastest lap times" and "very balanced" characteristics were also among the positives.
The 225/45 R 17 size tested is one of the most popular sizes for compact class models. It can be fitted on many different passenger cars – from the Audi A3 to the BMW 1 and 2 Series, Mini Clubman, Peugeot 308 and Volkswagen Golf. The test vehicle in this case was an Audi A3.
With the new PremiumContact 6 launched last year, Continental successfully bridges the gap between a sedan tire with high ride comfort and a tire for sporty models. It unites ride quality, precision steering response, maximum safety and good environmental properties in a single product. The PremiumContact 6 is manufactured in around 120 sizes for rims from 16 to 22 inches to fit passenger cars and SUVs. The current range covers tire widths between 205 and 325 mm, with aspect ratios between 65 and 30 percent and approvals for speeds of between 210 km/h and 300 km/h.


text:
Jeevan Nedunchezhiyan and Franko Škugor were the defending champions but chose not to defend their title.

Attila Balázs and Gonçalo Oliveira won the title after defeating Lukáš Rosol and Sergiy Stakhovsky 6–0, 7–5 in the final.

Seeds

Draw

References
 Main Draw

Prosperita Open - Doubles
2018 Doubles

redpajama_set_name: RedPajamaWikipedia


text:
Q: How can I keep track of my stack trace height for debugging purposes? I want my code to do the following:
def debug (message)
  puts message.rjust(message.length + (stack_trace-1 * 2)) # -1 for the call to debug
end

def a
  debug "in a"
  b
  debug "end a"
end

def b
  debug "in b"
  c
  debug "end b"
end

def c
  debug "in c"
  meaningful_work
  debug "end c"
end

Output:
in a
  in b
    in c
    end c
  end b
end a

I've done this before in PHP, like this:
function echon($string){
  $nest_level = count(debug_backtrace()) - 1; // minus one to ignore the call to *this* function
  echo str_repeat("  ", $nest_level) . $string . "\n";
}

As far as my google-fu can tell, there isn't a Ruby equivalent to debug_backtrace. I don't want to modify the calls of all the numerous methods in the code base I am working in to pass along a backtrace - that is needlessly cumbersome and hard to revert.
Is there some global I can use to keep track here?

A: Simply use Kernel#caller with .length. caller(0).length will give you the current stack depth.
Example:
irb(main):001:0> caller(0)
=> ["(irb):1:in `irb_binding'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb/workspace.rb:86:in `eval'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb/workspace.rb:86:in `evaluate'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb/context.rb:380:in `evaluate'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb.rb:492:in `block (2 levels) in eval_input'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb.rb:624:in `signal_status'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb.rb:489:in `block in eval_input'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb/ruby-lex.rb:247:in `block (2 levels) in each_top_level_statement'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb/ruby-lex.rb:233:in `loop'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb/ruby-lex.rb:233:in `block in each_top_level_statement'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb/ruby-lex.rb:232:in `catch'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb/ruby-lex.rb:232:in `each_top_level_statement'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb.rb:488:in `eval_input'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb.rb:397:in `block in start'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb.rb:396:in `catch'", "/System/Library/Frameworks/Ruby.framework/Versions/2.0/usr/lib/ruby/2.0.0/irb.rb:396:in `start'", "/usr/bin/irb:12:in `<main>'"]
irb(main):002:0> caller(0).length
=> 17

A: Here is one way to implement @nneonneo's excellent suggestion.
Code
INDENT = 2

def debug(msg=nil)
  @prev_arr_size ||= 1
  @arrived ||= false
  arr = caller(1)
  indent = ' '*(arr.size-2)*INDENT
  if msg
    puts indent + msg
    return
  end
  meth, call_meth = method_str(arr[0]), method_str(arr[1])
  entering = (@prev_arr_size==arr.size) ? !@arrived : @prev_arr_size < arr.size
  msg1, msg2 = entering ? ["in ", "called from "] : ["end", "returning to"]
  puts indent  + "%s %s, %s %s" % [msg1, meth, msg2, call_meth]
  @prev_arr_size = arr.size
  @arrived = !@arrived
end

def method_str(str)
  file, _, meth = str.partition(/:.*?in\s+/)
  "#{meth[1..-2]} (#{file})"
end

Example
def a
  debug
  # frivolous work
  b
  debug
end

def b
  debug
  c
  x = 5
  debug "It seems that x is now #{x}"
  # more frivolous work
  c
  debug
end

def c
  debug
  # meaningful_work
  debug
end

a
#=> in  a (t.rb), called from  <main> (t.rb)
#     in  b (t.rb), called from  a (t.rb)
#       in  c (t.rb), called from  b (t.rb)
#       end c (t.rb), returning to b (t.rb)
#     It seems that x is now 5
#       in  c (t.rb), called from  b (t.rb)
#       end c (t.rb), returning to b (t.rb)
#     end b (t.rb), returning to a (t.rb)
#   end a (t.rb), returning to <main> (t.rb)

redpajama_set_name: RedPajamaStackExchange


Wellcome Trust International Intermediate Fellowships is offering fellowships in Public Health and Tropical Medicine to mid-career researchers from low- and middle-income countries. Wellcome Trust also offers fellowships for Training, Masters and Senior Researchers.
About the Award: This scheme helps mid-career researchers from low- and middle-income countries establish independent research programmes in those countries. The scheme aims to support research that will improve public health and tropical medicine at a local, national and global level.
Application Deadline: The preliminary application deadline is 25th April 2019 and full application deadline is 27th June 2019.
Fields of Study: Fellowships are awarded in the field of Public Health and Tropical Medicine.
Have three to six years research experience.
Students that do not have a PhD or degree in medicine, Welcome Trust may still be considered if they have a first or Master's degree and can show substantial research experience.
Have a research proposal that is within the public health and tropical medicine remit.
have the skills and experience to apply for senior level fellowships or permanent positions at a research organisation.
Duration of Fellowship: An Intermediate Fellowship in Public Health and Tropical Medicine is for up to five years and cannot be renewed. An Intermediate Fellowship can be held on a part-time basis.
How to Apply for the Wellcome Trust International Intermediate Fellowships: Applicants must submit their application through the Wellcome Trust Grant Tracker (WTGT).


The Shaved Duck in the Tower Grove East neighborhood located at 2900 Virginia Street is opening for lunch starting Monday January 4th.
The Shaved Duck specializes in traditionally smoked meats using oak and hickory, and will now be smoking earlier in the day to ensure that everything is fresh off the pitt for their guests.
Please stop by for some great smoked meats, flatbreads, homestyle sides and expanded lunch menu, or contact Matt Fournier, Catering Manager for any catering functions coming up.
Seriously! How lucky are the residents of the Central West End (CWE)!?! Gerard Craft opened Brasserie by Niche in the former Chez Leon space. With Perry Hendrix at the helm of the stove, the CWE folks have just gotten themselves one heck of a neighborhood hotspot! Focusing on classic French bistro fare, you'll never eat onion soup anywhere else. Cassoulet, moules frites, French cheeses, country pate….and an amazing croque monsieur…coq au vin…you'll feel like you are sitting in a Parisian bistro! With a nice beer and wine selection…Brasserie By Niche is one of my new favorite places to go. Lucky for me it's a stone's throw from the hospital…and after a long day caring for the masses…Brasserie is a welcome respite!
Next up: Pi!! Pi is close to opening its doors in their new CWE locale! That makes the third space opened by Chris Sommers! With the crazy success of his spot in the Delmar Loop..and the cult-like obsession cultivated at the Kirkwood spot he is about to dish out some of that crazy good cornmeal crust deep dish on the corner of Euclid and McPherson! And to make it even better Mathew Rice is going to be doing his ingenious desserts at the new CWE locale! His milkshake bar at the Kirkwood locale is a favorite already. I suggest a Purple Cow or a chocolate malted milkshake if you make it out Kirkwood! The CWE spot is geared toward adults with a gorgeous reclaimed eco-friendly bar manned by Chad George!
Niche/Taste Bar closed for vacation this week!
FYI: If you were planning on a trip down to Niche or the new TasteBar….there is a kink. Gerard and staff are on summer holiday for the week! You can catch up with them next week!!
What a whirlwind August has been! We are moved into the new house, however we have loads of unpacking and organizing to do. Work is in full swing and class begins tonight for me! The kitchen was our first room to unpack…of course! Still trying to figure out the proper 'flow' of the new space…it's been rearranged twice…I'm sure we'll rearrange again.
I've been lucky enough to have some great meals around town. Last night was Bobo…it was my second visit since being home and it didn't disappoint. Ginger pork and egg noodles….delicious. I usually get the chicken….and although I liked the pork…the chicken is still my fav….headed over to Eclipse for a night cap on the roof. If you have yet to get down to Eclipse at the Moonrise Hotel in University City…I'd make a trip. The food is wonderful…the drinks are great and the rooftop views rival any bar in the city. They have a decent beer list…and the wine list it thoughtful, as well. But the calamari is delectable. Best I've had in StL in a very long time.
Speaking of Eclipse…I've been lucky enough to have been invited to an installation of a Full Moon Foodies Dinner. Hosted by Wes Johnson and Brendan Noonan…it's a late-night meal focusing on creative cooking…each dinner has a theme and guests are invited to a late night dining experience at Eclipse. Wes has graciously given me the green light to publish my thoughts on their late night adventures. Stay tuned….September 4th will be an exciting night. It will be a vegetarian meal….looking forward to see what the guys can do with this season's bounty!
…and he's bringing some pizza with him.
After having a slice on the campaign trail…Barack Obama was hooked, just like most of St. Louis, on Pi….and who can blame him. It really is great pizza….in my book…the BEST in StL has seen in eons. Now, I am an Imo's fan…don't get me wrong but as we all know..it's an accquired taste…one that is moslty only appreciated among natives. But Pi on the other hand is delicious any way you look at it…from any location in the Union. That is why Barack had Chris and his crew come up to DC this week to throw some dough for him and his brood. Now that is what I call great delivery service!!!
Not bad Sommers….not bad at all.
Food & Wine Feature Mathew Rice!!
F&W is showcasing another stellar recipe from our very own Mathew Rice, Pastry Chef at Niche and Veruca Bakeshop. You'll find it on pg. 77 of the February issue. It is a feature highlighting the under appreciated milk chocolate. Mathew did a knock up job on his Milk Chocolate Cookies with Malted Cream. I'm going to make them this weekend as a present to myself and as a bit of a band-aid for my homesick heart.
I just did a whirlwind tour of St. Louis this weekend and boy oh boy…did I have fun. It was a bittersweet trip…as you all may know, the Shaved Duck is going under a transformation. I was able to spend some quality time with my favorite bartender and the staff before they bid the Duck adieu….but, I'm not fretting too much…by the time we are back in StL I hope to see them back in action…from what I hear, works are in the making for a new spot due out in the Spring with Brendan Noonan, Wes Johnson and Pat Thomas. Fingers crossed. And I hope that the new menu makeover at the Duck is what they need and wish them best of luck!!
I also developed a sick fascination with Bobo Noodle house….more on that later. I just wanted to fill you all in about Mathew's F&W recipe feature. Hope you all had a relaxing and peaceful holiday.
Mathew Rice's spot in F&W is on the website as of today…..check it out.
We stopped in the Shaved Duck last night for a bite to eat….the place was packed! I was so happy to see that. We opted to eat at the bar to save us the wait for a table. The front bar area is great…looking forward to it on a blustry winter night….just the kind of place you want to have a nip.
Technical difficulties aside (which ALL restaurants have on their very first night) the food was excellent! I had the duck liver and some cheese (of course….it came from my husband). Si had the hot and sour duck soup…almost a consommé…delicious. Our guest had a scallop wrapped bacon (that's right…scallop AROUND bacon) and we dug the duck frites (uber shoestring curls of potatoes fried in duck fat) Jesus H Christ those were good. I will say this though: I wish the fries were bigger…more of a traditional frites…but amazing none the less. My biggest pet peeve (and you will be reassured that I will write/call and tell them this) : They spelled Anheuser wrong on the menu. Now, I know that tons of you won't care b/c you think Anheuser Busch is the devil…but this is St. Louis and I do believe we need to show a little respect to the King of Beers as they have done a great deal for our city and especially my family….AB has been putting dinner on the table one way or another for my family for over 100 years…sooooo….get the name right. It's ANHEUSER not Anheiser. My grandfather would thank you.
They are finding their pace and working their way through a new service very well. All employees were courteous and helpful. The food is delicious with small places of charcuterie, cheese, lots of duck..even a great confit, larger plates of market fish, game and chicken and house cured meats….desserts are by Serendipity….which are good…but they should go for Veruca….and knock everyone's socks off. The beer list is well, amazing (thanks to MIke at STLHops.com) and varied. I stuck with the Schlafly Summer Kolsch…my fav this time of year…and soooo easy to drink.


This summer, from June 11 – August 10, there were nearly four dozen camps, developed by the Forsyth School faculty, offered for children entering Pre-Kindergarten (age 3) - Grade 6. Kids stayed for Pizza & Movie Night Thursdays and Fun Lunch Fridays, which were a highlight of every week. See how much fun we had?


Check Out Eryn With a Y.
Hey, you don't need to buy a new mug. And for sure, you have nail polishes stocked in your beauty kit.
Don't ever think that nail polish is just for polishing our nails alone. There are lot of ways that you can use these, not just making nail arts. If you have some that bought but you found out that you actually don't actually love, those that have duplicates, or those that are almost dry, don't throw them away. You can use them to beautify some of your belongings. Just like your old, plain-looking cup.
Read more at Woods of Bell Trees.


Permanently erase all files from your Android or iOS devices.
Ultimate iOS data recovery tool designed for retrieving the acciden.
Fix your iOS device when you cannot enter the system.
Yet another solution to backup your iPod for Windows.
Good mobile design tool to use.
Transfer contacts from your iPhone to your computer.
Recover or back up data from iPhone, iPad, and iPod.
Extract data from mobile devices for forensic purposes.


This treatise investigates the tax implications of incorporating an existing legal partnership. The effect of the difference between the corporate tax rate and the higher tax rates applicable to individuals is considered. Particular consideration is given to Section 103(1) of the Income Tax Act, the genral anti-avoidance provision, by considering in some detail SIR v Geustyn, Forsyth and Joubert, (1971) 33 SACT 113 and CIR v Louw, (1983) 45 sact 113. It is concluded that to avoid the application of Section 103 the partnership business should be sold at a price made up of nett asset value plus reasonable goodwill. The price may be paid as and when the company finances permit and no security need be given nor interest charged. The sole or main purpose of incorporation must be advantages other than the tax benefits. There should preferably be compliance with Inland Revenue guideline, namely that it would not seek to apply Section 103 where a professional corporation distributed to its shareholders by way of salaries or remuneration in each year of assessment not less than eight percent of the total amount which but for such distribution would have represented its taxable income. Employees may be provided by their employers with fringe benefits which in some instances are taxed on a favourable basis in terms of the Seventh Schedule to the Income Tax Act. Partners are self-employed and are not subject to the provisions of the Seventh Schedule. Employees are not subject to the provisions of the Seventh Schedule. Employees are also eligible to join pension, provident and benefit funds and may participate in deferred compensation schemes. The advantages hereof are considered. Th estate duty implications of the death of a partner as against a shareholder, and the role of insurance policies on the life of a partner or shareholder are considered. Whether the structuring of an incorporated legal practice to include a trust or other legal entity as owner of the tangible assets of the practice holds any tax advantages will be discussed. It is concluded that generally it is tax efficient for an existing legal partnership to incorporate.


text:
Strangers and Faces: Patrick Stettner's The Business of Strangers
Interview with Kal Ng
Forsyth, Bill
Looking Both Ways: The 54th Melbourne International Film Festival
Humphrey Jennings by Keith Beattie
Horror of Dracula
"Expanded cinema" as a term is invitingly grandiose, connoting expansion, breadth, inclusivity, even possibility. Something bigger. Something better. Something, indeed, cinematic. The term resonates powerfully now, too, as the parameters of the cinematic, from how films are made, shared, and seen, to their role within contemporary culture, expand and contract, shift and morph. Expanded cinema at once acknowledges an eclipse as it celebrates a return. Given this mobility and even mutability, we might indeed wonder what sort of concept, apparatus, or artform merits such attention, sustenance, and reimagining. Why must cinema expand at all, and why are we so concerned with the blurring and sharpening of its boundaries?
For film scholars, the term has a more specific set of references, one of which is Gene Youngblood's notorious Expanded Cinema, first published in 1970 and subsequently re-published in a fiftieth anniversary edition by Fordham University in March of 2020. In this effervescent and richly-illustrated text, Youngblood aligns expanded cinema with expanded consciousness, writing, "Expanded cinema isn't a movie at all: like life it's a process of becoming, man's ongoing historical drive to manifest his consciousness outside of his mind, in front of his eyes."1 Youngblood writes enthusiastically about the proliferation of artworks across film, video, television, and performance in the 1960s, and argues that those burgeoning image-making practices contributed to what he dubs a cosmic consciousness; as he describes various forms of this consciousness, his book also catalogues a long list of media artworks from a particular moment in time, and as such, makes a valuable contribution to our understanding of avant-garde film and video. Was it a rigorous parsing of cinema as a medium in transition? Not exactly. For Youngblood, "expanded cinema" was a capacious term, and dozens of artworks with radically varied intentions were welcome.
Other authors and editors have sustained a similarly interdisciplinary opening up of the concept of expanded cinema for several decades. In their 2007 collection of essays, Fluid Screens, Expanded Cinema, for example, co-editors Janine Marchessault and Susan Lord describe their attention to "the shift from traditional cinematic spectacles to works probing the frontiers of interactive, performative, and networked media,"2 and their contributors draw on diverse disciplines, including film theory, communication studies, theories of new media and cultural studies, with a focus specifically on the transformative impact of digital video on visual culture. Their expanded cinema is indeed centrifugal. Similarly, Expanded Cinema: Art Performance Film (2011), edited by A. L. Rees, David Curtis, Duncan White, and Steven Ball, covers a very broad terrain, focusing primarily on filmmaking in the UK, and combining historical examples of the form from the 1960s and '70s with more contemporary work and, again, creating a large umbrella under which to gather diverse ideas and practices. Screen Dynamics: Mapping the Borders of Cinema (2012), edited by Gertrud Koch, Volker Pantenburg, and Simon Rothöhler also explores new directions with a sense of expansiveness, while Raymond Bellour, in his book Between-the-Images, goes one step further to celebrate the "confusion" and "impurity" that results from the melding of disparate media forms, including film; Bellour has long been a champion of artists working across the modes and materials of cinema, video, television, language and painting. Rather than isolating the specificities that delimit media forms, Bellour is intrigued by the connections, and he explains that the greatest attribute of video has been its ability to open passageways, and to encourage incorporation and transformation.
In many ways, I appreciate the openness represented in these approaches, as well as the invitation to interdisciplinarity, and even the cross pollination as one medium refracts, absorbs, and perhaps reimagines itself in relation to another. However, all of this expansion outward can contribute to murkiness, not simply ontologically – what is cinema in this confusion of materialities; of modes of production, distribution, and exhibition; of dispositifs, or "arrangements" of the cinematic? – but also in regard to scholarship. How to theorise and historicise when you are examining not simply apples and oranges, but bananas, too?
Jonathan Walley's new book Cinema Expanded: Avant-Garde Film in the Age of Intermedia, published in July 2020, responds to this issue with a title which pointedly reverses that of Youngblood's iconic text. More than a clever gesture, the inversion returns attention to the word "cinema", underscoring Walley's objective, namely to taxonomise the sprawling array of practices typically associated with the term "expanded cinema", which, depending on one's perspective, may include everything from VJ sets at clubs and projection artworks in museums to physical objects made out of the strips of 35mm film. Walley writes that his reversal of terms works toward "privileging the 'cinema' as much as the 'expanded'" and he will argue that a through line of the cinematic sustains the artistic identity of filmmakers in this category of work even though they may have engaged performance, sculpture, music, and painting in their filmmaking activities (p. 16). He states, "I intend to show that, even as they did so, they did not intend their works as intermedia but as cinema, just expanded" (p. 16). Through a careful delineation of various modes of practice, Walley guides us away from the seemingly irreducible heterogeneity of this category of filmmaking, and in the process, offers to "revise 'expanded cinema' as a concept, reclaiming it for a more narrowly and thus clearly defined group of works" (p. 17).
To perform this revision and reclamation, Walley attends to cinema's specificity on three levels, starting first with what he calls, after Rosalind Krauss, the physical aggregate of the cinematic, by which he means the collection of specific elements that compose "cinema" as practice and experience. His second level is that of the cinematic concept, by which he means those elements that make films films, including lighting, framing, and the organisation of time. His third level borrows the phrase "modes of film practice" from David Bordwell, Janet Staiger, and Kristin Thompson to refer to how these projects are made, which is often by filmmakers working alone rather than with a film crew. Walley spends a good amount of time acknowledging the imbrication of the physical and conceptual in any artform, and retains a firm stand in regard to his desire to attend to the specificity of film within this dialectic.
Walley also identifies what he considers to be the prominent traits of the avant-garde: it is artisanal, acollaborative, preoccupied with the concept of cinematic specificity, and the filmmaker is responsible for the totality of the work. In terms of distribution and exhibition in Walley's characterisation, avant-garde film culture does not consider the film print to be an art object; its screening venues differ from those of commercial cinema and are often microcinemas; and the audience members who attend these screenings have very different expectations than those visiting the local multiplex. He then goes on to identify a specific historical trajectory for expanded cinema, with an initial phase that resembles the flourishing of intermedia and hybridity outlined by Youngblood; a second phase as filmmakers returned to an exploration of the cinema as a medium; and a third wave in the mid-1990s that resists the rise of digital video, new media, and talk of media convergence.
And that's just the introduction! Walley takes extra care with this delineation at the start in order to situate his intervention as clearly as possible in a crowded field. His next chapter continues to narrow in focus, showing how early expanded film did indeed move outward as it rejected the classical Hollywood feature film and all that it represented. Walley writes, "The first wave of expanded cinema, heralded by Youngblood, VanDerBeek, and others appeared to be anathema to the notion of cinematic tradition, occurring as it did during what Mekas has recently called a 'nervous breakdown' experienced by all the arts at the time. But the subsequent work of expanded cinema's second wave was decidedly more cine-centric" (p. 99). Walley's next five chapters explore this fascination shared by filmmakers about the specificities of their medium.
In chapter two, "Expanded Cinema Revis(it)ed," Walley focuses on cinema performance, identifying the desire among many filmmakers to distinguish their practice from theatre, long seen as both precursor and rival to film as an artform, while also demonstrating how, although it relied on mechanical reproduction, film could escape this automaticity through live performance. What follows is a fascinating discussion of a terrific list of projects that each interrogate the specificity of cinema while pushing its boundaries. As Walley argues, these projects are an expansion in presenting a live experience, but they also reflect on the borders and boundaries of the medium, returning us to its unique qualities and characteristics in compelling ways. As an example, the varied projects of filmmaker Guy Sherwin examine the edges of the screen, the profundity of the notion of the screen itself, the merging of filmic and profilmic temporalities, as well as salient concepts of identity, memory, and even mortality. This is live cinema, with the filmmaker interacting with the image, but it centers directly on the parameters of the cinematic, thus making it part of the category Walley is delimiting.
The next two chapters in Cinema Expanded focus on cinema when it is instantiated as an object for reflection, centering first on the film strip itself, before moving on to explorations of the various permutations of cinema more broadly. Walley begins "Cinema as Object I" with Stan Brakhage's Mothlight (1963), a film that has been referenced repeatedly due to the ways in which the filmmaker's application of moth wings to the surface of the film strip not only prompts a curious, perhaps marvelous viewing experience but also invites viewers to examine the physicality of the film strip. Normally invisible to the cinema spectator as it courses through the projector, the film strip as it has been physically manipulated by the artist invites scrutiny, a fact that seems increasingly pertinent as younger generations lack exposure to film as a physical material.
This is an intriguing chapter, as Walley describes the ways in which filmmakers such as Peter Kubelka and Paul Sharits have displayed their films as objects on walls. He also chronicles the work of Tony Conrad, whose projects may prompt a smile – Deep Fried 4-X Negative (1973) was sizzled in cooking oil – and recognition of anger – 4-X Attack (1973) was made by pounding on footage with a hammer so that it splintered into tiny pieces; these were flash exposed, reassembled, and printed. Walley notes that Conrad was a "house husband" in the early 1970s, tasked with childcare and that his "cameraless films thus interrogated this traditionally feminine social position as much as they explored the nature of the film medium, which is to say that his craft's algorithm linked filmmaking to an exploration of the political ramifications of gender roles, reconciling radical artistic practice and the constraints of domesticity in a manner that paralleled contemporaneous work by Annabel Nicholson, Gil Eatherly, and Lis Rhodes in the United Kingdom." (p. 282) It is difficult not to wonder about the many housewives similarly tasked with domestic duties and prevented from this activity, and indeed, Walley does not interrogate the political implications of the work he presents, nor the uncritically gendered premises he accepts in framing it.
Melt Film (Luis Recoder and Sandra Gibson, 2012). The project consists of a 16mm projector whose film-advancing mechanisms have been dismantled such that individual frames sit in its gate, melting.
The chapter goes on to offer an excellent overview of the work of Luis Recoder and Sandra Gibson, known both for their live projection performances and an extensive body of work featuring various re-imaginings of cinema's materials, including projectors, strips of film, film rewinds, and more, all of it restructured to invite new ways of seeing and experiencing the multiple pleasures and provocations of the cinematic through its object-ness. In Melt Film (2012), for example, Recoder and Gibson have restructured a projector such that strips of film rest in the gate immobile, slowly burning away until the film is advanced once more, and another frame slowly begins to burn. The project exemplifies Walley's notion of cinema expanded: this is an expansion of the cinematic, but it is also a return; we are invited to think about the projector, its bulb, its motion as well as its stasis, and by extension, time, mortality, art, and perhaps even the odor of a melting film strip.
Walley's sixth chapter is "Cinema as Idea" and examines paracinema, a term used by Ken Jacobs and Hollis Frampton and defined by Walley as "works identified by their makers as cinematic, and legible as such within the avant-garde film world, that are not made in film." (p. 441) These include the iconic work by Anthony McCall, Line Describing a Cone (1973), which is sometimes understood to be a sculptural work – perhaps because most of us experience it as a still image documentation. However, the project is very much a moving image artwork that once again extends outward, appearing in museums and galleries, but which ultimately redirects our attention back to the fundamental components of the cinematic.
Walley also presents the elegant works made in the 1970s by Takahiko Iimura, who reduced his set of materials primarily to black and white leader which he explored through a series of diverse projection arrangements and museum installations. Walley points out that this work was a rejection of the visual spectacle of the expanded cinema works celebrated by Youngblood and instead were "meditations on film rather than sculpture or any other art form." (p. 335). He goes on to explore works by Paul Sharits and several other artists and to examine the implications of these artworks as they enter the museum.
As I began to read Cinema Expanded, I found myself marveling that a scholar would once again discuss the work of a familiar group of white male filmmakers and a well-known canon of artworks with little attention to the ideological implications of this focus. Having finished the book, these reservations remain. And yet, I thoroughly appreciate Walley's desire to more carefully delimit and define a decidedly unruly set of practices that have so often been carelessly grouped together. Further, the descriptions of so many artworks – especially those that are performance-based or otherwise difficult for many of us to see – carefully chronicled and assessed is powerful and welcome. Indeed, Walley's conclusion is nothing short of thrilling, with its description of dual-projection artwork by Richard Tuohy and Dianna Barrie titled Cyclone Tracery (2018). The project involves bi-packing two projectors with a single film print such that the film strip moves through the first projector in two layers, then around and through the second projector in two layers; there are thus four loops that create four images layered together. To help all of this take place in a frame-accurate manner, one of the artists must stand between the two projectors and help the film negotiate this pathway by hand, literally becoming part of the projection apparatus. Walley writes, "Cyclone Tracery, like so much of the expanded work in this book, is precisely about this relationship between filmmaker, medium, and moment," and adds a bit further on, "Theirs is not a medium specificity or a reflexivity of the usual materialist sort – of filmic objects like framelines and emulsion grain – but of forces, energies, processes, and relations discovered in Tuohy and Barrie's tireless plumbing of the depths of their medium." (p. 533) Walley goes on to write as eloquently about Esperanza Collado's We Only Guarantee the Dinosaurs (2014-2015), another performance-based expanded cinema project that integrates the filmmaker's own body, as well as the work of live cinema artist Sally Golding, who also has made major contributions to live cinema but remains critically neglected. Here, at the end of a 561-page book, I found myself wanting a bit more, wondering about the ideological implications of an expanded cinema in which the "forces, energies, processes, and relations" that Walley describes play a role. In 2021, in a world of digital forces, algorithmic energies, late capitalist processes, and neoliberal relations, what does the insertion of the human body into the machine of cinema mean?
Performance view of We Only Guarantee the Dinosaurs (Esperanza Collado, 2014-15), a project that brings together cinema, sculpture and dance to transform the conditions of enunciation of the filmic image. Presented at MAC-Val in Paris, as part of the program curated by Érik Bullot Le film et son double: du projectionniste, November 2015. Photograph by Érik Bullot.
With this said, in his selection of final projects, Walley is able to underscore that he is not arguing that expanded cinema circles back to itself hermetically; instead, in his definition, expanded cinema can in fact be excessive as well as inclusive of other artforms, as long as it sustains a kind of tension with cinema. These works, then, loop through expansion and contraction; they move through other artforms and return; they recall their own legacies within the avant-garde tradition and acknowledge a handmade sensibility; they expand and contract. And expand once again.
Jonathan Walley, Cinema Expanded: Avant-Garde Film in the Age of Intermedia (Oxford: Oxford University Press, 2020)
Gene Youngblood, Expanded Cinema (Fordham, NY: Fordham University Press, 2020), p. 41). ↩
Janine Marchessault and Susan Lord (eds.), Fluid Screens, Expanded Cinema (Toronto: University of Toronto Press, 2007), p. 6. ↩
Ghost Cities: The 58th Viennale
Holly Willis is the Associate Dean of Research in the School of Cinematic Arts at the University of Southern California where she teaches courses on new and emerging media forms, especially as they relate to moving-image storytelling. She is the author of Fast Forward: The Future(s) of the Cinematic Arts and New Digital Cinema: Reinventing the Moving Image, as well as the co-founder of Filmmaker Magazine dedicated to independent film. She writes frequently for diverse publications about experimental film, video, new media and creative nonfiction. Her work has appeared in publications as diverse as Film Comment, Afterimage, ArtWeek, Variety and The Los Angeles Review of Books.
Paul Wegener: Frühe Moderne im Film by Heide Schönemann
Distrusting Desire – A Review of The Money Shot: Sex, Cinema And Censorship by Jane Mills (Annandale: Pluto Press, 2001)


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text:
Atlas Fútbol Club, vaak Atlas Guadalajara genoemd, is een Mexicaanse voetbalclub uit Guadalajara. De club is opgericht op 15 augustus 1916. Thuisstadion is het immense Estadio Jalisco. Het Estadio Jalisco was ook een van de stadions tijdens het Wereldkampioenschap Voetbal van 1986.

De ploeg is net gelijk het Spaanse Sporting Gijón in handen van de Mexicaanse firma Grupo Orlegi van de zakenman Alejandro Irarragorri

Erelijst
 Landskampioen
 1951
2021 Apertura

Bekende (oud-)spelers
  Abel
  Jared Borgetti
  Alberto Cardaccio
  José de Jesús Corona
  Gustavo Dezotti
  Andrés Guardado
  Rafael Márquez
  Nicolás Olivera
  Daniel Osorno
  Pável Pardo
  Miguel Pinto
  Robert
  Hugo Rodallega
  Efraín Sánchez
  Oswaldo Sánchez
  Robert Siboldi
  Miguel Zepeda

Externe link
 Officiële website

Atlas
Guadalajara (Jalisco)


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Faculty, staff honored for teaching, mentoring and more
Emory Report | May 17, 2018
Emory College Dean Michael Elliott (right) presents the Cuttino Award to physics professor Eric Weeks during the Emory College diploma ceremony on May 14. Emory Photo/Video
Special feature: Honoring Emory's Class of 2018 May 14, 2018
Cuttino Award honors physicist Eric Weeks as enthusiastic mentor May 10, 2018
Eleanor Main Graduate Awards honor exceptional mentors May 16, 2018
Emory Williams Teaching Award
Commencement: Stories
Academics, University, Emory College, Graduate School, Oxford College, School of Business, School of Law, School of Medicine, School of Nursing, School of Public Health, School of Theology, Awards and Distinctions, Commencement, Commencement: May 14, 2018, Teaching
Emory University faculty and staff were recognized with multiple awards at the 2018 school diploma ceremonies.
Among those honored were the winners of the Emory Williams Distinguished Undergraduate Teaching Award. It was established in 1972 by alumnus and longtime trustee Emory Williams to honor faculty for fostering participation, inquiry and creative expression in the classroom; providing a model for teaching and scholarship, mentoring students, and more.
The following awards were conferred:
Exemplary Teacher Award from the United Methodist Church General Board of Higher Education and Ministry: Director of General and Advanced Studies Studies Steven J. Kraftchick, professor in the practice of New Testament
Presented at Candler's Honors Day Convocation:
Staff Person of the Year: Sarah Bogue, reference and instruction librarian at Pitts Theology Library
Faculty Person of the Year: Kwok Pui Lan, Distinguished Visiting Professor of Theology
On Eagle's Wings Excellence in Teaching Award: Brent A. Strawn, professor of Old Testament
Emory College of Arts and Sciences
Emory Williams Distinguished Undergraduate Teaching Award: Jose Soria, senior lecturer in the Department of Chemistry; Valerie Loichot, professor of French and English; Tracy Scott, senior lecturer, Department of Sociology.
Emory College Award for Academic Advising: Bree Ettinger, lecturer, Department of Mathematics and Computer Science
George P. Cuttino Award: Eric Weeks, Samuel Candler Dobbs Professor of Physics
Emory University School of Law
Most Outstanding Professor: Frank Alexander, Sam Nunn Professor of Law and founding director of the Center for the Study of Law and Religion
Evangeline Papageorge Teaching Award: Stefan Tigges, professor of radiology and imaging services
Goizueta Business School
Emory Williams Distinguished Undergraduate Teaching Award: Wesley Longhofer, assistant professor of organization and management
Marc F. Adler Prize for Excellence in Teaching: Ramnath Chellappa, associate dean and academic director of the MSBA program
Donald R. Keough Award for Excellence (faculty): Anand Swaminathan, Goizueta Chair in Organization and Management
Donald R. Keough Award for Excellence (staff): Jalisa Norton, administrative assistant for Information Systems and Operations Management
Eleanor Main Graduate Mentor Award (faculty): Patricia Bauer, Asa Griggs Candler Professor of Psychology
Eleanor Main Graduate Mentor Award (student): Osric Forrest, 2018 graduate of the Immunology and Molecular Pathogenesis doctoral program
Nell Hodgson Woodruff School of Nursing
Emory Williams Distinguished Undergraduate Teaching Award: Melissa I. Owen, assistant clinical professor of nursing
Emory Williams Distinguished Undergraduate Teaching Award: Florian Pohl, associate professor of religion
Thomas Sellers Award: Kimberly R. Jacob Arriola, professor, Department of Behavioral Sciences and Health Education
SGA Faculty of the Year: W. Michael Caudle, associate professor, Department of Environmental Health
SGA Staff of the Year: Ralph Valenzuela Jr., fulfilment services rep II


text:
UniCERT Timestamp Server
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UniCERT Timestamp Server is part of a new generation of Public Key Infrastructure (PKI) components designed to meet the complex requirements of today's enterprise. The ability to be able to prove the time and date that a contract was signed, or that a fund was transferred, is of the utmost importance in e-Commerce.
The purpose of the Timstamp Server is to respond to a request for a signed time stamp from a remote client. Typically, this time stamp will be used to provide unforgeable evidence of a particular document at a particular point in time. To achieve this, the time stamp must be irrevocably tied to the document itself using a hash value of the document, and must be signed by a trusted authority - the Time Stamp Authority.
UniCERT Timestamp Server runs on Windows NT and offers a complete system for the issuance of timestamps. In summary, UniCERT Timestamp Server:
supports RSA (2048) and DSA (1024) keys;
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supports an extendable set of different UTC time sources e.g. the system clock, NTP or GPS;
can use hardware security modules to perform its cryptographic operations;
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comes complete with a client application kit, which allows you to integrate timestamp requests into your own applications;
includes a fully functional demonstration application;
works with any standards-based Certificate Authority, including Baltimore's UniCERT Version 3.1.2 (accredited to ITSEC E3).
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39/41 Parkgate Street
http://www.baltimore.com/
Baltimore Technologies Pty Limited (Dealer)
Level 4, Building C, CityWest Office Park 33 Saunders Street
PYRMONT NSW 2009