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Today is ANZAC Day. From the official Australian War Memorial website:
What is ANZAC Day?
ANZAC Day - 25 April - is probably Australia's most important national occasion. It marks the anniversary of the first major military action fought by Australian and New Zealand forces during the First World War. ANZAC stands for Australian and New Zealand Army Corps. The soldiers in those forces quickly became known as ANZACs, and the pride they soon took in that name endures to this day.
Why is this day so special to Australians?
When war broke out in 1914 Australia had been a federal commonwealth for only fourteen years. The new national government was eager to establish its reputation among the nations of the world. In 1915 Australian and New Zealand soldiers formed part of the allied expedition that set out to capture the Gallipoli peninsula to open the way to the Black Sea for the allied navies. The plan was to capture Constantinople (now Istanbul), capital of the Ottoman Empire and an ally of Germany. They landed at Gallipoli on 25 April, meeting fierce resistance from the Turkish defenders. What had been planned as a bold stroke to knock Turkey out of the war quickly became a stalemate, and the campaign dragged on for eight months. At the end of 1915 the allied forces were evacuated after both sides had suffered heavy casualties and endured great hardships. Over 8,000 Australian soldiers were killed. News of the landing at Gallipoli made a profound impact on Australians at home and 25 April quickly became the day on which Australians remembered the sacrifice of those who had died in war.
Though the Gallipoli campaign failed in its military objectives of capturing Constantinople and knocking Turkey out of the war, the Australian and New Zealand troops' actions during the campaign bequeathed an intangible but powerful legacy. The creation of what became known as an "Anzac legend" became an important part of the national identity of both nations. This shaped the ways they viewed both their past and their future.
That day is marked by formal ceremonies across Austalia and New Zealand, and at Gallipoli itself. Each year more and more Australians and New Zealanders journey to Turkey to take part in the dawn ceremonies there. It has become a place of national pilgrimage for both nations.
Only three Australians who served in the Great War are still alive, however all Gallipoli veterans have passed away. But with their passing has come a shift in how we identify them. For most Australians growing up in the last half of the twentieth century, the Anzacs were old men, venerated and respectfully treated as such. With them now gone, we begin to see them as they saw themselves - for the most part very young, irreverrant adventurers who found themselves in middle of hell and formed a bond of mateship and courage so strong it passed through generations. Today they are young men again and will remain so forever.
As spoken every Anzac Day, these lines from the poem To The Fallen by Laurence Binyon are imprinted on every Australian's heart:
Posted by paulh on April 25, 2005 at 11:50 PM | Permalink | Comments (3) | TrackBack (0)
The Song Remains the Same 2
As I mentioned a short while ago, I recently purchased tickets to both the Moody Blues and Jethro Tull shows in Brisbane. The Moodys played last Saturday night and were spectacular. I saw them in the late 80s when they toured Australia for the first time and while that was also a great concert, both were very different. In the 80s, the 4 core members played with little back up, and the concert was just about note perfect to their records. This time round, founding member Ray Thomas had retired and in the intervening years since their last trip they had added a second drum kit and a couple of multi-instrumentalists. While the 80s concert was perhaps a truer 'historical' Moody's sound this performance had a power and passion that really surprised me.
A local journalist writing about the concert on Tuesday said that instead of finding a bunch of superannuated 70s superstars going through the motions he witnessed a performance that was 'vibrant and muscular'. He described (singer/guitarist) Justin Hayward as 'frighteningly good'. I agree. His renditions of Forever Autumn from the War of the Worlds sountrack and of course Nights in White Satin were absolutely beautiful. I once heard an interview with an American tradiional singer who performed on the soundtrack of O Brother Where Art Thou. He described himself as having a 'lonesome voice'. Well, Justin Hayward has a voice that has a certain catch in it that speaks of longing and loss - which of course it is meant to do in many of their songs.
If any of you out there are Moodys fans who perhaps thought they were over the hill, forget about that. Line up, buy your tickets. They're about to tour the States after they finish down here.
As musicians they've just got better and, after all these years, they still enjoy their craft with a passion. You will too.
Thanks to Sue and MaggieMay at the wonderful fansite Moodysojourn for the great picture of Justin and John in action in Sydney last week.
Creative London: Resisting the Rational
In this week's session on the growth of the Creative Industries in the UK, Kate Oakley outlined the development of the Creative London Report. Kate was the report's primary author and was initially engaged to work with the Mayor's Commission on the Creative Industries. The output of the deliberations of this group eventually became the Creative London Report.
The Mayor Of London, Ken Livingstone, had long been an advocate of urban regeneration through creativity and culture and was a strong supporter of the project.
Kate spent some time discussing the composition and workings of the committee and, in the process, highlighted the strengths and weaknesses of committee structures. Effective and appropriate representation from all stakeholder groups is the key, as is the role and personality of the chair.
The original stated aims of the Commission were to:
Ensure continued growth and development of London's Creative Industries; and
Maximise their contribution to London's economy.
Supporting these aims was data from a range of sources including the London Project undertaken by the Prime Minister's Strategy Unit. Amongst other things it showed that the creative industries were growing faster than financial services in London.
Armed with this preliminary information, the Commission established these themes:
Enabling talent and commercialisation;
Creative production chains;
Money, management and growth;
Property and places.
Kate reported that the Commission became obsessed with the last theme.
Evidence was gathered in a variety of ways including formal, closed interview sessions with invited sector representatives. From Kate's point of view, the most valuable and powerful technique was the site visit, which provided committee members with first hand experience of the industry issues in situ.
Over a period of 5 months the committee gathered and analysed this information and synthesised the main issues which included:
Whether to use a bottom-up or top down support model with existing agencies;
Expect and support a 'slow burn' model of development and support rather than expecting quick wins;
The importance of showcasing;
The need for ongoing advice and support;
The acknowledgement and celebration of diversity (and with this the realisation of a 'hidden creative economy' not captured in formal surveys – eg. Ethnic music);
Whether funding is an issue or not, and if it is, should it be seed or growth capital;
The importance of property.
The report went through 9 drafts before finally being published in 2004 as a part strategy/part report document style (after starting life labelled a manifesto).
It is currently being implemented in a variety of ways that include:
The establishment of 10 Creative Hubs across the city;
The Space Agency – portfolio of property available for temporary use (installations, exhibitions, short-term projects);
Own It! – intellectual property advice and assistance;
Creative Seedfund;
Creative Showcasing.
The long terms benefits are some way off this is significant commitment towards the continuing growth of the Creative Industries in one of the world's great cities and illustrates how important these industries are for continuing prosperity in a knowledge-based economy.
As an interesting aside in Kate's presentation, she mentioned the influence of cultural historian Peter Hall on the thinking leading up to the commissioning of the project. Commenting on the 'greatness' of certain cities throughout history followed by their decline, Hall proposes that only the cities that embrace renewal through creativity and culture can be great more than once. An interesting concept.
Posted by paulh on April 22, 2005 at 11:34 AM | Permalink | Comments (0) | TrackBack (0)
Cultural Entrepreneurship and The City: Regeneration or Gentrification?
In her most recent postgraduate lecture session at the Queensland University of Technology in Brisbane, Kate Oakley, a leading British researcher, policymaker, analyst and commentator on the knowledge economy, discussed some of the problematic issues cities face when adopting policies to promote and grow the cultural industries.
Do you support the industries where they currently lie no matter how unevenly distributed they are? Do you attempt to concentrate them in a particular precinct through enticements? What is more strategically effective for industry growth? What has greatest impact on the city as a whole? How do you cater for the needs of the cultural entrepreneur? Can the cultural industries and the often-associated information technology and knowledge-focussed sectors offer a new beginning for cities struggling to overcome failing industrial age practices?
Kate and her colleague Charles Leadbeater undertook a study of four cities in Britain to see how each was dealing with those issues. Kate dealt with Brighton and Sheffield in England whilst Charles looked at Glasgow in Scotland and Cardiff in Wales. They began their study by talking to the network-connected in each location.
They found four cities with substantial differences. In Kate's case, Brighton had an identifiable creative element but little local government interest. Its two universities had a history of involvement in the creative industries with one featuring a large fine arts department. Sheffield on the other hand was a heavy manufacturing centre in decline, no recent traditions in the arts, but a local council keen to explore and support possibilities. Brighton had significant public awareness of the cultural industries, Sheffield had little. Brighton had a distributed base of creative working talent. Sheffield had established a building to be the focus of its CI strategy but had not branded it.
Both cities are still in the early stages of dealing with the broad economic and social issues that accompany such a shift in focus. Of note however are the recurring problems of the need for more skills development opportunities and the indistinct linkage between cultural entrepreneurs and policy makers.
For many cities, big urban regeneration projects are often focussed around the arts. The promise of a cultural industries-led economic revival based around some standout example of a city's commitment to this process is enough to see major infrastructure change given regional or national priority. A cynical view may consider this as a way of attempting to gain style and panache overnight, and in so doing putting a place on the tourist map.
Kate used the term Guggenheim Effect that refers to the development of the extraordinary Guggenheim Museum in Bilbao, Spain. Designed by Frank O. Gehry, this structure draws little or nothing from mainstream Spanish or Basque culture. It becomes a curiosity rather than a showcase and developmental hub for the local cultural industries, and with its creation comes the obliteration of whatever stood in its place.
Many cities approach regeneration in less extravagantly obvious ways. However in undertaking these programs they impose their view of appropriate culture on existing precincts. In some cases choosing areas close to city centres already inhabited by creative individuals and groups, publicly sponsored infrastructure change 'improves' locations to such a degree that locals are forced out by economic pressures. The culture of the place is seen to be retained by preserving architectural facades or building new structures to old styles. This process of gentrification is happening in a great number of cities across the world. Not everyone wins in the regeneration game.
Cities looking to recast themselves through major public policy initiatives centred around the cultural industries must be prepared to face this social conflict head-on because it can't be avoided. How they plan for and manage it will be a real test of their commitment to cultural values and social justice for all their citizens.
Family Treasures
I almost called this post Creativity Begins At Home because I suppose that's a subtext of what I'm reflecting on presently. My doctoral research is trending toward an exploration of the nurturing and reinforcement of personal creativity and its importance and impact on the governance and management of companies in the creative industries – effectively, 'Keeping creative managers creative'. More on that at another time.
Whilst musing on this subject I revisited my own creative impulses and where they'd come from. That's a tricky one, because over the years I guess I've said things like, "Well, a lot of people in my family were creative and artistic so I guess that's where I got it from. Must run in the family."
I sense that some people are wired to see and interpret the world in novel ways. They look at the accepted and see the exception. How they interpret and express that though is another matter. The environment in which individuals are raised interacts with whatever nascent talents they have to provide a kind of creativity potential that is further enhanced and activated as they move through life.
A kind of generational resonance exists in families though the transference of personality traits, social beliefs, cultural bias, inherited resources etc., so the essence of your long departed relatives still plays a significant part in establishing the pool of influence in which you spend your formative years.
I seem to have become the keeper of my family's memorabilia, and it's this I've been trawling through. Out of it today came a wonderful item from my great Uncle Ernie – or to be more formal (as I expect he preferred) Ernest Robert Bannister Jordan – 'ERB' to most who knew him. I've mentioned him before in my post entitled Relics and the Red Baron. It's his baton, made of wood from Baron Manfred Von Richthofen's shot down Fokker triplane, that I have hanging on my wall.
ERB was born in Brisbane in 1885 and became a fine musician, composer and conductor. Ernest by name and earnest by nature from all accounts and as the photo of the serious little fellow suggests. ERB died long before I was born, but he was often spoken about in his sister's (my grandmother's) home where I spent a great deal of my earliest years. My interests in music were no doubt reinforced by my family's familiarity with and positive attitudes to it. ERB had a strong post mortem influence then and he does now, sixty-four years after his death. That's a powerful thing to realise.
The item I found today is a small scrap of paper that contains the only existing musical manuscript that has survived him. Its brevity is a sweet and sad reminder how little of our hopes, dreams and achievements can appear to outlast us. But in truth our real legacy is the influence that remains in the corners of our descendant's hearts and minds.
Look into your family archives. Who is there, staring out from sepia photographs or represented by feathery script on fading pages, whose influence has shaped your creative life?
Networks for Creative Entrepreneurs
Kate Oakley, a leading British researcher, policy analyst and commentator on the knowledge economy, is currently in residence and giving a series of lectures and Masterclasses at the Creative Industries Faculty of the Queensland University of Technology in Brisbane.
Kate is an Associate with the Demos Thinktank and has been formulating policy and providing advice on the growth and development of creative and cultural industries to government and industry. She and colleague Charles Leadbeater have published significant papers such as Surfing the Long Wave and The Independents in recent years which highlight the social, cultural and economic issues surrounding the current and future development of creative industries and the people who work in them. From Leadbeater's website comes a short summary of each of these papers:
Surfing the Long Wave
Every developed economy wants an enterprise culture. As the rate of economic change increases, entrepreneurship is seen as vital for future prosperity and competitiveness. But it also has a broader significance, acting as a vital stimulant for an open pluralistic culture and a driver of social and civic renewal. But despite the emergence of a knowledge-based economy, and a distinct shift in the qualities needed for companies to succeed, myths about entrepreneurship still persist.
This report sets out to explode those myths, and offers a systematic account of the conditions and strategies needed to sustain entrepreneurship in the new economy. Crucially, the authors argue, entrepreneurship should be seen as a process, driven by teams of people and involving collaboration across organisations and between sectors like higher education, government and financial community. A sustained culture of knowledge entrepreneurship requires an infrastructure based on networks and clusters, which government can facilitate.
The Independents
A new breed of Independents accounts for a growing share of the employment and output in some of the fastest growing sectors of the British economy: cultural industries such as design, fashion, multimedia and Internet services. These Independents are mainly in their twenties and thirties. They run microbusinesses or are self-employed freelancers. They are often producers, designers, retailers and promoters at the same time. Independents already account for 6 per cent of employment in large British cities and their numbers are rising. Their main assets are creativity, skill, ingenuity and imagination. Across Britain, thousands of young Independents are working from their bedrooms and garages, workshops and run-down offices, hoping that they will come up with the next Hotmail or Netscape, the next Lara Croft or Diddy Kong, the next Wallace and Gromit or Notting Hill.
One of the main findings of this research – based on dozens of interviews with the new Independents in four British cities – is that there is a 'missing middle' in public policy. Policymakers, both national and local, know little about this new generation of entrepreneurs – how they work, where they come from, their distinctive needs – nor how to interact with them. This policy gap has to be closed – to help provide these new cultural entrepreneurs with a firmer base to build upon.
At this week's postgraduate lecture, Kate focussed on this issue of the generation of 'independents' who must largely rely on themselves for professional growth and commercial success. They do this by networking, not having the traditional traditional infrastructure of the large corporate or government workplace around them.
Trailblazing in this area has been the Institute for Contemporary Arts in London – a unique and non-mainstream organisation that was established in the 1940s to cater for the needs of artists who had yet to establish themselves. In 1999 the ICA opened The Club as a network for these emerging CI entrepreneurs. Kate was recently engaged as a consultant to work with The Club and to provide a case to assist in its quest to secure additional funding for its activities.
Further background to the need for such clustering and networking, and in particular the dynamics of the interactions between this young creative generation and the venture capitalists who will fund their dreams, is the paper From Clubs To Companies by Angela McRobbie also featured by Kate. This is included in the new book Creative Industries edited by John Hartley.
This article proposes a recent acceleration in the nature and pace of work and employment in the UK culture industries. Multi-skilling and de-specialisation are a result of growth, change, convergence and competition in the arts and media sector. Creative work increasingly follows the neo-liberal model, governed by the values of entrepreneurialism, individualisation and reliance on commercial sponsorship. One consequence for the relatively youthful workforce is the decline of workplace democracy and its replacement by 'network sociality' which in turn is influenced by the lingering impact of dance and club culture. Independent creative work finds itself squeezed, compromised or brokered by the venture capitalists of culture.
The great challenge for this company-less class of new creative professionals is to make their emerging networks springboard environments to commercial success. Interacting at this level with those with the money to fuel their passions and skills is a significant part of this challenge. To network solely among themselves provides affirmation and extension of skills and ideas, social and psychological support in a tribal sort of way, but rarely the cash to convert potential to product.
Networking is hard to do, particularly between two groups as different as creative entrepreneurs and venture capitalists. Specific skills in matchmaking, communication and negotiation are required to ensure that both parties benefit from exchanges. Perhaps the network host needs to perform this role? Certainly the young creative appears underprepared to enter the world of business negotiations without the ozone layer of the company as much as the venture capitalist who enters the world of the arts and new media without a translator and guide.
The big question for public policy makers, keen to see the continued growth of knowledge economy, is not whether but how they should become involved in supporting the establishment of these professional networks and the accompanying business matchmaking.
April Power Hacks
Merlin Mann over at 43 Folders provides us with undeniable wisdom for April. As a champion of the commonsense in both analog and digital worlds, Merlin regularly gives us some great tips for dealing with technology without going nuts ... or if we are already nuts, not to get any nuttier.
Read April Power Hacks, go find a pencil, and rediscover the Zen of Sharpening.
I'm reaching for my Derwent HB, Faber Castell sharpener and Moleskine journal as we speak.
The Elusiveness of Creativity
Creativity is an interesting thing to try and pin down. It's a key element of my current studies, particularly as it applies to management in emerging and creative industries, but also is central to my personal and work life.
Many people associate creativity exclusively with artistic endeavour and dismiss identifying the trait in themselves if they can't draw, dance on Pointe or hold a note. Artistic people can be creative but creative people needn't be artistic. Creativity is about envisioning novelty that can be expressed in any number of ways. It can manifest itself in the little challenges and inspirational thoughtlets that are part of our daily lives and that give us satisfaction and joy.
Millions of creative moments are occurring around the planet as you read this. Most will stay the personal and internal property of the imaginer. Some will find their way into the world via the domain and field to which the imaginer belongs.
For me, the thinker who has best captured the essence of this elusive thing called creativity is Mihalyi Csikszentmihayli. (pronounced "chick-SENT-me high"), a Hungarian-born polymath and the Davidson Professor of Psychology and Management at the Drucker School of Management at Claremont Graduate University, in Claremont, California. His two best known books, Flow: The Psychology Of Optimal Experience and Creativity: Flow and the Psychology of Discovery and Invention are must-reads for anyone interested in identifying creativity. Both books written for non-academic readers.
Csikszentmihayli is the architect of the notion of Flow in creativity. People enter a flow state when they are fully absorbed in activity during which they lose their sense of time and have feelings of great satisfaction. Csikszentmihalyi describes flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost."
Like Twyla Tharp's 'Groove' it is the creative zone that we crave to find.
His elements of Flow are:
1. There are clear goals every step of the way.
2. There is immediate feedback to one's actions.
3. There is a balance between challenges and skills.
4. Action and awareness are merged.
5. Distractions are excluded from consciousness.
6. There is no worry of failure.
7. Self-consciousness disappears.
8. The sense of time becomes distorted.
9. The activity becomes autotelic (something which is a end in itself).
He feels that creativity manifests itself in too many ways to have a single definition, and notes three phenomena that need to be considered when attempting to identify creativity.
1. Persons who express unusual thoughts, have varied interests and quick minds. They are sometimes charismatic and strong communicators. They burn bright but rarely create anything new, functioning primarily as commentators on the thoughts of others. Csikszentmihalyi calls them brilliant but doesn't consider them creative.
2. Persons who experience the world in novel and fresh ways, have fresh perceptions, insightful judgement, and may make discoveries that they keep to themselves. This would be most of us from time to time, finding in our daily thoughts and actions, mini-quests and solutions which make us happy and feeling fulfilled. He calls these people personally creative.
3. Persons who have changed our culture in important ways. Their creative ideas find their way into the world and affect the domains in which they function and sometimes culture as a whole in significant ways. He considers these people creative without qualification.
Creativity which changes some aspect of culture never resides in the mind of only one person. To have any effect the idea must be couched in terms understandable to others, it must pass muster with experts in the field and it must be included in the cultural domain to which it belongs.
Creativity can be observed only in the interrelations of a system made up of three main parts:
1. The domain - which consists of a set of symbolic rules or procedures (like Mathematics)
2. The field - all the individuals that act as gatekeepers to the domain
3. The individual - creativity occurs when an individual using the symbols of a given domain has a new idea or sees a new pattern, and when this novelty is selected by the appropriate field for inclusion into the relevant domain.
I like his definitions. They explain for me the creativity of the everyday – the novel ideas and solutions to self-imposed challenges that keep most of us happy - for at least part of the time. (The bored executive who comes alive on the weekends when he finds new trails to explore on his mountain bike).
They also identify the world-changers - those who have their ideas tested in the fire of professional opinion.
Whatever our form of creative endeavour, it serves to make us feel good about ourselves and add delight to our lives. As Csikszentmihalyi expresses:
Creativity is a central source of meaning in our lives...most of the things that are interesting, important, and human are the results of creativity...[and] when we are involved in it, we feel that we are living more fully than during the rest of life.


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Hand-Signed and Numbered by Terry O'Neill Nicaraguan actress and activist Bianca Jagger poses with a small knife in a publicity shot for the film 'The American Success Company', Munich, 1978. British photographer, Terry O'Neill, has photographed presidents, prime ministers, rock stars, Oscar winners and the British Royal Family. He chronicled the lives of emerging rock stars and icons of the 60s, including David Bowie, Elton John, The Who, Eric Clapton and Chuck Berry. He photographed The Beatles and The Rolling Stones when they were struggling young bands, and worked closely with Frank Sinatra for over 30 years. His photograph of Faye Dunaway, in Beverly Hills, the morning after she won her Best Actress Oscar for Network, has been nominated as the most iconic Hollywood shot of all time. O'Neill has produced covers for Time, Newsweek, Stern, Paris Match, The Sunday Times Magazine and Vanity Fair, and his work is featured in national galleries and private collections worldwide.
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Two sets of playing cards are shown, one set consists of all red cards and the other set consists of all black cards.
Using only these cards you propose to check the compatibility of a lady and gentleman from your spectators (married to each other or otherwise).
The lady chooses one set of cards and is free to deal them into any order.
The gentleman deals the other set of cards and then the order of the two sets of cards are checked.
Oh dear, none of the cards check out – it would seem that the couple are completely incompatible in every respect!
That is until each set of two cards are turned face down when everyone is in for a big surprise!
Heart to Heart is perfect for table-hopping and the like as it can be re-set in a moment. Trouble free with no sleight of hand or anything similar so it is simple to do.
Comes with special cards & instructions.


Meanwhile, Sisi presides over a vast security state yet has failed to slow terrorist attacks on Christians and their houses of worship. Late last year, Islamic State militants attacked a bus full of Christian pilgrims traveling to a monastery south of Cairo. Seven died, and dozens more were injured—in nearly the exact location as a terrorist attack on Christian pilgrims the year before. In recent years, Islamist militants have also killed Christians in brazen church bombings in mainland Egypt and have targeted Christians in the northern Sinai Peninsula, driving out dozens from their homes.
Sisi's gleaming mega-cathedral in Egypt's new administrative capital certainly impressed U.S. Secretary of State Mike Pompeo and other foreign visitors. Yet not only is this vanity project located in a military-controlled site inaccessible to most Egyptians, but it has zero impact on the systemic discrimination Christians face daily. Despite the real dangers that come with speaking out in Sisi's Egypt, in a recent column Youssef Sidhom, the editor in chief of Egypt's most influential Christian newspaper, Watani, warned against allowing "talk by President Sisi when he visits the Church" to "obscure the fact that there are Egyptian Copts who experience neither equality nor freedom, nor can they exercise their constitutional rights." Other prominent Christian figures have expressed similar discomfort.


This paper considers process designs and projected membrane performance of semi-batch reverse osmosis (RO) systems for a range of brackish and low-salinity source water types and compositions. The potential advantages of new process design features that are attainable with batch RO but not practical for conventional RO, such as short membrane arrays and high-recovery single-stage designs, are evaluated. Particular focus is given to the operating conditions and performance of individual membrane elements in multi-element membrane arrays. Comparisons are made to the performance of conventional PF RO designs. The analysis will help engineers of nanofiltration (NF) and RO systems to understand the new capabilities, optimization considerations, and potential new applications for this emerging process technology.


text:
from __future__ import (absolute_import, print_function)
from base64 import b64decode, b64encode
import cherrypy
from datetime import datetime
import dozer.dao as dao
import dozer.filesystem as fs
import dozer.jsonrpc as jsonrpc
from dozer.exception import (
    FileNotFoundError, InvalidParameterError, LoginDeniedError,
    PermissionDeniedError)
from functools import partial
from httplib import METHOD_NOT_ALLOWED
from logging import getLogger
from mako.lookup import TemplateLookup
from mako.runtime import Context
from mako.template import Template
from os.path import abspath, dirname, exists, isfile
import sqlalchemy.orm.exc
from sqlite3 import Connection
from sys import exit
from urllib import quote_plus as quote_url

log = getLogger("dozer.app")

@jsonrpc.expose
class DozerAPI(object):
    @jsonrpc.expose
    def create_folder(self, node_name=None, inherit_permissions=True):
        return fs.create_folder(folder_name=node_name,
                                inherit_permissions=inherit_permissions)

    @jsonrpc.expose
    def create_notepage(self, node_name=None, inherit_permissions=True):
        return fs.create_notepage(notepage_name=node_name,
                                  inherit_permissions=inherit_permissions)

    @jsonrpc.expose
    def create_note(self, notepage_id=None, pos_um=None, size_um=None):
        notepage = fs.FilesystemNode.get_node_by_id(notepage_id)
        if not isinstance(notepage, fs.Notepage):
            raise InvalidParameterError(
                "notepage_id %r does not refer to a notepage", notepage_id)

        return notepage.create_note(pos_um=pos_um, size_um=size_um)

    @jsonrpc.expose
    def update_notepage(self, notepage_id=None, updates=None):
        if not isinstance(updates, (list, tuple)):
            raise InvalidParameterError(
                "updates must be a list of update objects")

        notepage = fs.FilesystemNode.get_node_by_id(notepage_id)
        if not isinstance(notepage, fs.Notepage):
            raise InvalidParameterError(
                "notepage_id %r does not refer to a notepage", notepage_id)

        # Running change log.
        changes = []

        # Updated notes
        results = []

        for update_id, update in enumerate(updates):
            action = update.get('action')
            if action is None:
                raise InvalidParameterError(
                    "update %d does not have an action", update_id)

            update['update_id'] = update_id

            if action == "edit_note":
                change, result = self._edit_note(notepage, update)
                changes.append(change)
                results.append(result)
            else:
                raise InvalidParameterError(
                    "update %d has invalid action %r", update_id, action)
        # end for

        notepage.update(changes)
        return {
            'notepage_revision_id': notepage.revision_id,
            'results': results
        }

    @jsonrpc.expose
    def list_folder(self, node_name=None):
        return fs.get_node(node_name).children

    def _edit_note(self, notepage, update):
        change = {}
        result = {}

        update_id = update['update_id']

        note_id = update.get('note_id')
        if note_id is None:
            raise InvalidParameterError(
                "update %d action edit_note does not have a note_id",
                update_id)

        revision_id = update.get('revision_id')
        if revision_id is None:
            raise InvalidParameterError(
                "update %d action edit_note does not have a "
                "revision_id", update_id)

        note = fs.FilesystemNode.get_node_by_id(note_id)
        if not isinstance(note, fs.Note):
            raise InvalidParameterError(
                "update %d action edit_note node_id %d does not refer "
                "to a note", update_id, note_id)

        change['action'] = 'edit_note'
        change['note_id'] = note_id
        result['note_id'] = note_id

        pos_um = update.get('pos_um')
        if pos_um is not None:
            change['pos_um'] = [note.pos_um, pos_um]
            result['pos_um'] = pos_um
            note.pos_um = pos_um

        size_um = update.get('size_um')
        if size_um is not None:
            change['size_um'] = [note.size_um, size_um]
            result['size_um'] = size_um
            note.size_um = size_um

        z_index = update.get('z_index')
        if z_index is not None:
            change['z_index'] = [note.z_index, z_index]
            result['z_index'] = z_index
            note.z_index = z_index

        contents_markdown = update.get('contents_markdown')
        if contents_markdown is not None:
            change['contents_markdown'] = [
                note.contents_markdown, contents_markdown]
            result['contents_markdown'] = contents_markdown
            note.contents_markdown = contents_markdown

        note.update()
        result['revision_id'] = note.revision_id
        return change, result

class DreadfulBulldozer(object):
    def __init__(self, server_root):
        super(DreadfulBulldozer, self).__init__()
        self.server_root = server_root
        self.template_dir = self.server_root + "/pages"
        self.template_lookup = TemplateLookup(directories=[self.template_dir])
        self.jsonrpc = jsonrpc.JSONRPC()
        self.jsonrpc.dozer = DozerAPI()
        return

    @cherrypy.expose
    def index(self, *args, **kw):
        page = Template(filename=self.template_dir + "/index.html",
                        lookup=self.template_lookup,
                        strict_undefined=True)
        cherrypy.serving.response.headers['Content-Type'] = "text/html"
        return page.render(app=self)

    @cherrypy.expose
    def login(self, username=None, password=None, redirect="/", logout=None,
              **kw):
        request = cherrypy.serving.request
        response = cherrypy.serving.response
        error_msg = None

        if request.method in ("POST", "PUT"):
            # See if we have a username/password combination
            if username is not None and password is not None:
                try:
                    cherrypy.tools.user_session.local_login(
                        username=username, password=password)
                    raise cherrypy.HTTPRedirect(redirect, 303)
                except LoginDeniedError:
                    error_msg = "Invalid username/password"

        if logout:
            cherrypy.tools.user_session.logout()

        page = Template(filename=self.template_dir + "/login.html",
                        lookup=self.template_lookup,
                        strict_undefined=True)
        response.headers['Content-Type'] = "text/html"
        return page.render(app=self, redirect=redirect, error_msg=error_msg)

    @cherrypy.expose
    def browse(self, *args, **kw):
        request = cherrypy.serving.request
        response = cherrypy.serving.response

        if request.method in ("POST", "PUT"):
            raise cherrypy.HTTPError(METHOD_NOT_ALLOWED)

        # Make sure we have a valid session.
        if request.user_session is None:
            # Redirect to the login page.
            raise cherrypy.HTTPRedirect("/login?redirect=" +
                                        quote_url("/browse"))

        home_folder = request.user.home_folder
        if home_folder is None:
            home_folder = "/"
        elif not home_folder.startswith("/"):
            home_folder = "/" + home_folder

        raise cherrypy.HTTPRedirect("/files" + home_folder)

    @cherrypy.expose
    def files(self, *args, **kw):
        request = cherrypy.serving.request
        response = cherrypy.serving.response

        if request.method in ("POST", "PUT"):
            # TODO: Handle file upload.
            raise cherrypy.HTTPError(500, "Unable to handle uploads right now")

        # Make sure we have a valid session.
        if request.user_session is None:
            # Redirect to the login page.
            raise cherrypy.HTTPRedirect(
                "/login?redirect=%s" % quote_url("/files/" + "/".join(args)))

        try:
            node = fs.get_node("/" + "/".join(args))
        except FileNotFoundError as e:
            raise cherrypy.HTTPError(404, str(e))
        except PermissionDeniedError as e:
            raise cherrypy.HTTPError(403, str(e))

        if isinstance(node, fs.Folder):
            template = "folder.html"
        elif isinstance(node, fs.Notepage):
            template = "notepage.html"
        elif isinstance(node, fs.Note):
            template = "note.html"

        page = Template(filename=self.template_dir + "/" + template,
                        lookup=self.template_lookup,
                        strict_undefined=True)
        response.headers['Content-Type'] = "text/html"
        return page.render(app=self, node=node)

    @cherrypy.expose
    def notepage(self, *args, **kw):
        path = cherrypy.request.path_info.split("/")[1:]

        if len(path) <= 1:
            raise cherrypy.HTTPRedirect("/notepage/", 302)

        path = "/" + "/".join(path[1:])
        obj, remaining = dao.get_object_by_path(cherrypy.request.db_session, path)
        if obj is None:
            raise cherrypy.HTTPError(
                404, "Notepage %s does not exist" % (path,))

        if obj.document_type == "notepage":
            return self.handle_document(obj, remaining)
        elif obj.document_type == "folder":
            return self.handle_folder(obj)

        raise cherrypy.HTTPError(
            500, "Unknown document type %s" % (obj.document_type,))

    def handle_document(self, doc, remaining):
        remaining_elements = remaining.split("/")
        if len(remaining_elements) == 0:
            if cherrypy.request.method in ("GET", "HEAD"):
                return self.fetch_document(doc)
            elif cherrypy.request.method in ("POST", "PUT"):
                return self.put_document(doc)
            elif cherrypy.request.method in ("DELETE",):
                return self.delete_document(doc)
            else:
                raise cherrypy.HTTPError(
                    400, "Invalid method %s" % cherrypy.serving.request.method)

    def fetch_document(self, doc):
        page = Template(filename=self.template_dir + "/notepage.html",
                        lookup=self.template_lookup,
                        strict_undefined=True)
        cherrypy.response.headers['Content-Type'] = "text/html"
        return page.render(document=doc)

    def get_session(self, session_token):
        cherrypy.serving.request.user_session = None
        cherrypy.serving.request.user = None

redpajama_set_name: RedPajamaGithub


text:
module Shim
  extend ::ActiveSupport::Concern

  included do
    include ::Mongoid::Timestamps
    field :created_at, :type => DateTime
  end

  module ClassMethods
    def order(attribute)
      asc(attribute)
    end

    def find_by_email(email)
      find_by(:email => email)
    end
  end

  # overwrite equality (because some devise tests use this for asserting model equality)
  def ==(other)
    other.is_a?(self.class) && _id == other._id
  end
end


Chobe National Park is one of the most popular attractions in Botswana. The Chobe River flows like a deep blue ribbon through the dusty town of Kasane and the Chobe National Park. The park was proclaimed in 1968 and covers floodplains, woodlands and swamps. The Chobe River is to the North of the park, and forms the boundary of the park. It is here that you can view large herds of Elephant and Buffalo. If you visit in the very dry months, you could see hundreds of these massive animals making their way to the river to drink.
Other game to view are waterbuck, giraffe, kudu, roan, sable, impala, warthog, bushbuck, monkeys and baboons, crocodiles and other predators like lion, leopard, cheetah and hyena.
Aside from game drives, there are river cruises to enjoy a where you will see hippo, crocodile, and a stunning array of birdlife.
In the interior of the Chobe National Park, the Savuté Channel is known for its predators that can be found in this particular area. The Savuté Channel flows from the Linyanti River, which carries water to the Savuté Marsh. When this is full, it attracts thousands of birds, mainly migratory, as well as migratory animals. Because this channel dries up, sometimes for years, it is lined with dead trees.


At the heart of Peter Halley's abstract, geometric and fluo painting is an underground cavernous thing that traps you and frees you at once. A great thing that lasts since the 80s and resists time, because the American artist had seen everything before everyone else. This trick is a paradox that he has taken on the task of formulating himself in many writings that prolong, rather than justify, his painting. "I have always considered that my works are images of something." We squint. Because the works, exhibited there, in Paris, at the Xippas gallery, as everywhere else, since always (Halley does not change of trajectory), appear nothing, if not squares, sometimes rectangles, with in their center parallel bars, and on their sides right-angled lines that lead to other squares, and sometimes to other rectangles. The b-a.ba of abstract art geometric slope: the canvases are dynamic, rhythmic, colorful, point bar. This does not prevent the artist from persisting and signing: "These are images of something." What, then? Convenient answer: geometric art itself.
Logo. At the end of the twentieth century, when Halley took the brushes, this pictorial vein, once dominant and sure of itself, ended up exhausting itself, caricaturing itself, becoming bourgeois, by being no more than Shell emptied of its initial ambitions. To paint a square in the 80s is to quote Malevitch or Mondrian, and all the clique of pioneers and heirs of geometric abstraction who have cited them before. Geometry then sees no further than the tip of his nose, square. She has finished planning for the world of tomorrow. Worse, it has become a mainstream brand, a logo that no longer promotes itself. In short, she is in crisis. This is what Peter Halley soon concluded and revealed, in 1984, when he was 31 years old, in a seminal article in Artforum titled "The Crisis of Geometry": "Where Formerly Written" he, geometry was a sign of stability, order and proportion, there are now only images of confinement and deterrence. "Geometry closes on itself? Worse: it encloses the entire world between its insurmountable lines.
The abstraction of Peter Halley is the image (we are) of today's world: prison, liberticide, dead end. A prison. Its squares are cells with dormers with bars and the lines that connect them, narrow corridors where no one can rush without escaping the vigilance of Big Brother. Whose geometry is the best friend. Widely fed by Michel Foucault's book, Monitor and Punish, Halley notes "the omnipresent deployment of geometric structures in cities, factories and schools, in housing, transport and hospitals, which measure and standardize action. and movement, and to control the population of the nascent industrial age. "
The exhibition by Peter Halley delivers a faithful, pessimistic and cheerful image, both claustrophobic and repetitive. The artist himself can not cut it: this prison geometry does not leave him anymore. He even sees it in the plans of the ancient burial chambers. And even in the architecture of the gallery he lined the narrow corridors and blind rooms, in the basement, diagrams or blocks of texts, written by the Commissioner, Jill Gasparina. The installation then takes turns the color of a kind of nightclub, lit by a black light, and then at the very end, in this space of toxic green and tense black vinyl, a kind of command room where would meet a crisis cell.
"...ageback/67362/?/ Content-Length: 0 Connection: close Content-Type: text/html; charset=ISO-8859-1 ..."


Blast-off into the great unknown with this glow-in-the-dark badge set.
All badges have hook and loop sewn securely on the back so you can customize your clothing and gear. Choose our Hook & Loop Hoodie or Cub Ruck and wear your heart on your sleeve!


text:
Combined video tracking and image-video registration for continuous bronchoscopic guidance
Lav Rai, James P. Helferty, William Evan Higgins
Penn State Cancer Institute
Cancer Institute, Experimental Therapeutics
Objective: Three-dimensional (3D) computed-tomography (CT) images and bronchoscopy are commonly used tools for the assessment of lung cancer. Before bronchoscopy, the physician first examines a 3D CT chest image to select pertinent diagnostic sites and to ascertain possible routes through the airway tree leading to each site. Next, during bronchoscopy, the physician maneuvers the bronchoscope through the airways, basing navigation decisions on the live bronchoscopic video, to reach each diagnostic site. Unfortunately, no direct link exists between the 3D CT image data and bronchoscopic video. This makes bronchoscopy difficult to perform successfully. Existing methods for the image-based guidance of bronchoscopy, either only involve single-frame registration or operate at impractically slow frame rates. We describe a method that combines the 3D CT image data and bronchoscopic video to enable continuous bronchoscopic guidance. Methods: The method interleaves periodic CT-video registration with bronchoscopic video motion tracking. It begins by using single-frame CT-video registration to register the "Real World" of the bronchoscopic video and the "Virtual World" of the CT-based endoluminal renderings. Next, the method uses an optical-flow-based approach to track bronchoscope movement for a fixed number of video frames and also simultaneously updates the virtual-world position. This process of registration and tracking repeats as the bronchoscope moves. Results: The method operates robustly over a variety of phantom and human cases. It typically performs successfully for over 150 frames and through multiple airway generations. In our tests, the method runs at a rate of up to seven frames per second. We have integrated the method into a complete system for the image-based planning and guidance of bronchoscopy. Conclusion: The method performs over an order of magnitude faster than previously proposed image-based bronchoscopy guidance methods. Software optimization and a modest hardware improvement could enable real-time performance.
International journal of computer assisted radiology and surgery
Optical flows
Rai, L., Helferty, J. P., & Higgins, W. E. (2008). Combined video tracking and image-video registration for continuous bronchoscopic guidance. International journal of computer assisted radiology and surgery, 3(3-4), 315-329. https://doi.org/10.1007/s11548-008-0241-6
Rai, Lav ; Helferty, James P. ; Higgins, William Evan. / Combined video tracking and image-video registration for continuous bronchoscopic guidance. In: International journal of computer assisted radiology and surgery. 2008 ; Vol. 3, No. 3-4. pp. 315-329.
@article{184ecc5ce728499ba0ec7ee764592737,
title = "Combined video tracking and image-video registration for continuous bronchoscopic guidance",
abstract = "Objective: Three-dimensional (3D) computed-tomography (CT) images and bronchoscopy are commonly used tools for the assessment of lung cancer. Before bronchoscopy, the physician first examines a 3D CT chest image to select pertinent diagnostic sites and to ascertain possible routes through the airway tree leading to each site. Next, during bronchoscopy, the physician maneuvers the bronchoscope through the airways, basing navigation decisions on the live bronchoscopic video, to reach each diagnostic site. Unfortunately, no direct link exists between the 3D CT image data and bronchoscopic video. This makes bronchoscopy difficult to perform successfully. Existing methods for the image-based guidance of bronchoscopy, either only involve single-frame registration or operate at impractically slow frame rates. We describe a method that combines the 3D CT image data and bronchoscopic video to enable continuous bronchoscopic guidance. Methods: The method interleaves periodic CT-video registration with bronchoscopic video motion tracking. It begins by using single-frame CT-video registration to register the {"}Real World{"} of the bronchoscopic video and the {"}Virtual World{"} of the CT-based endoluminal renderings. Next, the method uses an optical-flow-based approach to track bronchoscope movement for a fixed number of video frames and also simultaneously updates the virtual-world position. This process of registration and tracking repeats as the bronchoscope moves. Results: The method operates robustly over a variety of phantom and human cases. It typically performs successfully for over 150 frames and through multiple airway generations. In our tests, the method runs at a rate of up to seven frames per second. We have integrated the method into a complete system for the image-based planning and guidance of bronchoscopy. Conclusion: The method performs over an order of magnitude faster than previously proposed image-based bronchoscopy guidance methods. Software optimization and a modest hardware improvement could enable real-time performance.",
author = "Lav Rai and Helferty, {James P.} and Higgins, {William Evan}",
journal = "Computer-Assisted Radiology and Surgery",
Rai, L, Helferty, JP & Higgins, WE 2008, 'Combined video tracking and image-video registration for continuous bronchoscopic guidance', International journal of computer assisted radiology and surgery, vol. 3, no. 3-4, pp. 315-329. https://doi.org/10.1007/s11548-008-0241-6
Combined video tracking and image-video registration for continuous bronchoscopic guidance. / Rai, Lav; Helferty, James P.; Higgins, William Evan.
In: International journal of computer assisted radiology and surgery, Vol. 3, No. 3-4, 01.01.2008, p. 315-329.
T1 - Combined video tracking and image-video registration for continuous bronchoscopic guidance
AU - Rai, Lav
AU - Helferty, James P.
AU - Higgins, William Evan
N2 - Objective: Three-dimensional (3D) computed-tomography (CT) images and bronchoscopy are commonly used tools for the assessment of lung cancer. Before bronchoscopy, the physician first examines a 3D CT chest image to select pertinent diagnostic sites and to ascertain possible routes through the airway tree leading to each site. Next, during bronchoscopy, the physician maneuvers the bronchoscope through the airways, basing navigation decisions on the live bronchoscopic video, to reach each diagnostic site. Unfortunately, no direct link exists between the 3D CT image data and bronchoscopic video. This makes bronchoscopy difficult to perform successfully. Existing methods for the image-based guidance of bronchoscopy, either only involve single-frame registration or operate at impractically slow frame rates. We describe a method that combines the 3D CT image data and bronchoscopic video to enable continuous bronchoscopic guidance. Methods: The method interleaves periodic CT-video registration with bronchoscopic video motion tracking. It begins by using single-frame CT-video registration to register the "Real World" of the bronchoscopic video and the "Virtual World" of the CT-based endoluminal renderings. Next, the method uses an optical-flow-based approach to track bronchoscope movement for a fixed number of video frames and also simultaneously updates the virtual-world position. This process of registration and tracking repeats as the bronchoscope moves. Results: The method operates robustly over a variety of phantom and human cases. It typically performs successfully for over 150 frames and through multiple airway generations. In our tests, the method runs at a rate of up to seven frames per second. We have integrated the method into a complete system for the image-based planning and guidance of bronchoscopy. Conclusion: The method performs over an order of magnitude faster than previously proposed image-based bronchoscopy guidance methods. Software optimization and a modest hardware improvement could enable real-time performance.
AB - Objective: Three-dimensional (3D) computed-tomography (CT) images and bronchoscopy are commonly used tools for the assessment of lung cancer. Before bronchoscopy, the physician first examines a 3D CT chest image to select pertinent diagnostic sites and to ascertain possible routes through the airway tree leading to each site. Next, during bronchoscopy, the physician maneuvers the bronchoscope through the airways, basing navigation decisions on the live bronchoscopic video, to reach each diagnostic site. Unfortunately, no direct link exists between the 3D CT image data and bronchoscopic video. This makes bronchoscopy difficult to perform successfully. Existing methods for the image-based guidance of bronchoscopy, either only involve single-frame registration or operate at impractically slow frame rates. We describe a method that combines the 3D CT image data and bronchoscopic video to enable continuous bronchoscopic guidance. Methods: The method interleaves periodic CT-video registration with bronchoscopic video motion tracking. It begins by using single-frame CT-video registration to register the "Real World" of the bronchoscopic video and the "Virtual World" of the CT-based endoluminal renderings. Next, the method uses an optical-flow-based approach to track bronchoscope movement for a fixed number of video frames and also simultaneously updates the virtual-world position. This process of registration and tracking repeats as the bronchoscope moves. Results: The method operates robustly over a variety of phantom and human cases. It typically performs successfully for over 150 frames and through multiple airway generations. In our tests, the method runs at a rate of up to seven frames per second. We have integrated the method into a complete system for the image-based planning and guidance of bronchoscopy. Conclusion: The method performs over an order of magnitude faster than previously proposed image-based bronchoscopy guidance methods. Software optimization and a modest hardware improvement could enable real-time performance.
JO - Computer-Assisted Radiology and Surgery
JF - Computer-Assisted Radiology and Surgery
Rai L, Helferty JP, Higgins WE. Combined video tracking and image-video registration for continuous bronchoscopic guidance. International journal of computer assisted radiology and surgery. 2008 Jan 1;3(3-4):315-329. https://doi.org/10.1007/s11548-008-0241-6


One of the greatest concerns you probably have when renting a dumpster in Boneville is how much it'll cost. One of the very best methods to negate this anxiety is to get precise advice. When you phone to get a price quote, have recommended of how much waste you'll need to remove so you can get the very best recommendation on dumpster size. In the event you are unsure on the quantity of waste, renting a size bigger will save you the added expense of renting another dumpster if the first proves overly small.
Supply any info you think is applicable to ensure you don't end up paying for services that you don't actually want. Some companies charge by the container size, while others charge by weight. Make sure you know which is which so you have a clear estimate. Likewise, make sure to request whether the estimate you get includes landfill costs; this will keep you from being surprised by an additional fee after.
The price to rent a dumpster in Boneville depends on several variables such as the size you need and how long you need to keep it to complete your project. Usually, you can expect to spend more cash for larger dumpsters. Keeping the dumpster for a longer amount of time may also raise the price.
Getting estimates is among the best ways to compare dumpster prices to make sure you get a fair deal. Since some firms may charge additional fees, it's vital that you be sure the price quote contains all the gear and services that you need.
Typically, renting a dumpster in Boneville is an affordable means to remove debris from a building, remodeling, or clean out job. So long as you get price quotes in order to compare your options, you should find that you can get an excellent deal on a in Boneville.
When you want to rent a dumpster in Boneville to use at your home, it is a great idea to keep several guidelines in mind. First, determine the size dumpster that can work best for your project. Temporary dumpsters generally come in 10, 20, 30 and 40 yard sizes. Then think about the placement of the dumpster on your premises. Recommendations call for you to provide an area that is double the width and height of the container. This will definitely ensure appropriate height and space clearance.
The price you're quoted for the container includes a one-time delivery and pick-up fee, along with regular fees for disposal, fuel and tax. You must also realize you could just fill the container to the top; no debris should be sticking out. As the homeowner, it's also wise to check with your local city or municipality to find out whether a permit is needed to put the container on the road.
As with any service, it is always an excellent plan to reserve your dumpster as far ahead as you possibly can in order to ensure that the dumpster will be available when you require it. Should you wait until the last minute, there's no guarantee that the organization will have the capacity to fill your order.
Two or three days notice is usually sufficient to ensure your dumpster delivery in time. Recall that the busiest days are usually on Mondays and Fridays (encircling the weekend), thus if you can organize your job for the midst of the week, you've got a better chance of finding the dumpster you'll need.
When you rent a dumpster in Boneville, you're dealing with professionals who use terms associated with the construction industry and dumpsters each day. Because you probably do not use these terms every day, here's a bit of the lingo to get you acclimated. This can actually allow you to deal with business employees who may get impatient if you don't comprehend what they are describing about their products.
"Container" and "roll-off" are both acceptable terms for the large metal box you need to rent. Professionals do not use the term "dumpster" as much as the other terms. Containers are often leased in cubic yard sizes, but you do not have to include the "cubic" part. Just say "yard" or "yarder." If, for example, you need to rent a 30-yard dumpster, you may say, "I'm interested in a 30-yard roll-off" or "I Had like to rent a 30-yarder." Take advantage of these terms, and you will seem like a professional when you call.
If you need to rent a dumpster in Boneville, you will discover that prices vary substantially from state to state and city to city. One method to get actual estimates for the service you need is to call a local dumpster business and ask regarding their prices. You can even request a quote online on some websites. These websites may also contain full online service that is constantly open. On these websites, you can select, schedule and cover your service whenever it's suitable for you.
Variables that affect the cost of the container contain landfill fees (higher in some areas than others) as well as the size of the container you select. You have to also consider transport costs as well as the kind of debris you will be placing into your container.
Price quotes for in Boneville generally contain the following: the size of the container, the kind of debris involved, the base cost for the dumpster, how much weight is included in the quote, a given rental period and delivery and pick-up fees.
Dumpster leases are one of the most affordable means to remove waste and debris from a dwelling or commercial property. Still, it's important that you consider your options to ensure you get the very best price possible on your in Boneville.
Requesting businesses for price quotes is one of the easiest methods to ensure you get a great deal. After talking to a number of companies, you can compare the estimates to determine which one meets your needs at the bottom price. When getting estimates, make sure that the businesses include all of the services you will need. Some companies charge extra for services like drop off and pick up. They might also charge higher rates for removing certain types of materials. By having them include all of the fees in your estimate, you can compare the prices accurately instead of becoming mislead by a rental business that conceals extra costs.
If you rent a 30 yard dumpster, you will be receiving a container that will hold 30 cubic yards of waste or debris. Your 30 yard container will measure about 22 feet long by 8 feet wide by 6 feet high. These amounts could change somewhat depending on the business in Boneville you pick. A 30 yard dumpster will hold between 9 and 15 pickup truck loads of waste, so it's a great choice for whole-dwelling residential cleanouts in addition to commercial clean-up jobs.


text:
Our Showreel showcases a broad range of projects we have worked on. We produce films for all uses across various platforms; we are passionate about telling our customers' stories and would love to help tell yours.
Below are some examples of recent films that we think would be of interest to you.
A to Z Accommodation
The timeline for this film had to fit around university term times; the project was planned and shot with a very specific deadline (an Induction Event where it was being shown) and a clearly defined budget. The aim of the project was to deliver practical and important information in a fun and watchable way that lined up with a famously creative university.
Bodmin Sixth Form
A couple of years ago we re-branded Bodmin College. We capitilised the B in their name and used it as a verb to lead a number of positive sentences, Be a Scientist, Be an artist. This concept is central to their brand and they wanted a film that utilized that concept, represented Bodmin College's Sixth Form and made sure the Sixth Form stood out in a way that was fresh and gave them their own identity. The film was edited in various ways and used across a wide range of media to advertise the College.
Bodmin Cycling Town
Our brief was to deliver a film which was both informative for the Bodmin Community and to put the town on the map as a hub for cycling in Cornwall and the south west. The film was also presented at a transport event to showcase the innovative project.
Abby Glencross Interview Bodmin College
A case study film to speak to their target audience from a student's perspective.
Our brief was to create a film for the Scarlet website. They felt that they needed a film to help them communicate their brand. However, they didn't need or want anything salesy. We decided to focus on the idea that an adults only hotel could still be fun.
Unlocking Potential
This film was a part of a bigger project where we were gathering content to showcase Unlocking Potentials clients and success stories to target both potential clients and future funding. We made this overall edit to incorporate a few of the businesses to use at an awards event.
Falmouth University Tender | Idenna Creative


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Home News From The 'Verse Comics Marvel / Stitcher to release season finale of WOLVERINE: THE LONG NIGHT...
Marvel / Stitcher to release season finale of WOLVERINE: THE LONG NIGHT on May 7th
■Comics
by Dan Berry - May 5, 2018
Marvel and Stitcher are set to release the season finale of their scripted podcast WOLVERINE: THE LONG NIGHT on May 7th at 9am Eastern/6am Pacific/1pm GMT. The podcast follows 2 agents who arrive in Burns, Alaska, to investigate some murders and discover the town lives in fear of a serial killer. They team up with a local deputy and Logan (voiced by RICHARD ARMITAGE).
More information is below courtesy of their press release.
Marvel and Stitcher to Release Season Finale of 'Wolverine: The Long Night'
"Wolverine: The Long Night" Episode 10 will be released on May 7 at 9:00am ET
Marvel and top podcast listening service and content network Stitcher ("Heaven's Gate," "Katie Couric," "The Paris Review") will release the final episode of "Wolverine: The Long Night" on on May 7 at 9:00am ET. Episode 10 will be available for listeners exclusively on Stitcher Premium.
"Wolverine: The Long Night" follows agents Sally Pierce (Celia Keenan-Bolger) and Tad Marshall (Ato Essandoh) as they arrive in the fictional town of Burns, Alaska, to investigate a series of murders and quickly discover the town lives in fear of a serial killer. The agents team up with deputy Bobby Reid (Andrew Keenan-Bolger) to investigate their main suspect, Logan (Richard Armitage). Their search leads them on a fox hunt through the mysterious and corrupt town.
In the finale, Logan and the Agents finally have their long-awaited face to face, and Pierce and Marshall each have to make their hardest decision yet.
"Wolverine: The Long Night" is Marvel's first-ever scripted podcast. The series was written by award-winning comic book author Ben Percy ("The Wilding," "Red Moon") and directed by Brendan Baker (formerly a producer for Radiotopia's "Love & Radio") with sound design by Chloe Prasinos (formerly a producer for Gimlet's "Reply All"). The series is produced by Daniel Fink of Marvel and Jenny Radelet of Stitcher.
In addition to Armitage, the show's cast includes notable actors Scott Adsit ("30 Rock"), Bob Balaban ("MoonriseKingdom") and Brian Stokes Mitchell ("Mr. Robot").
Also cast in the series are actors Zoe Chao, Chaske Spencer, Jordan Bridges, David Call, Michael J. Burg and LannonKillea. Chris Gethard, host of the popular "Beautiful Stories from Anonymous People" podcast, will also make a cameo appearance.
Wolverine: The Long Night
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