text:
#include "scene.hpp"
#include "../bsdf/bsdf.hpp"
#include "../geom/triangle.hpp"
#include "../geom/intersection.hpp"
#include "../geom/pathvertex.hpp"
using namespace xyz;

void Scene::EvaluateBidirectionalPathTracing(
    __in float_t const x, __in float_t const y,
    __out std::vector<pixel_descriptor_t> *const pColors,
    __inout std::vector<PathVertex> &lightsPathVertices,  // from lights
    __inout std::vector<PathVertex> &theEyePathVertices,  // from the eye
    __inout IPrimarySample &sample) const {
  (*pColors)[0].second = CIE_XYZ_Color(0);  // 初期化

  // 光源上の位置をサンプリングする.
  SampleLightPosition(sample.next(), sample.next(), &lightsPathVertices[1]);
  lightsPathVertices[1].power = GetLightPowerXYZ();
  lightsPathVertices[2].pGeometry = nullptr;

  // フィルム位置をサンプリングする.
  SampleLensPosition(&theEyePathVertices[1]);

  // 光源から視点へ向けて経路を生成する.
  BuildLightsPath(lightsPathVertices, sample);
  EvaluatePathS1(lightsPathVertices, theEyePathVertices[1], pColors, sample);

  // 視点から光源へ向けて経路を生成する.
  BuildTheEyePath(x, y, theEyePathVertices, sample);

  // 双方の経路を接続して評価する.
  EvaluatePathST(lightsPathVertices, theEyePathVertices,
                 &((*pColors)[0].second), sample);
}

// 光源から視点に向けて経路を生成する.
void Scene::BuildLightsPath(__inout std::vector<PathVertex> &lightsPathVertics,
                            __inout IPrimarySample &sample) const {
  if (!lightsPathVertics[1].pGeometry) {
    return;  // 光源が設定されていないと終了する.
  }

  // 射出方向の選択
  {
    lightsPathVertics[0].fSamplingNext = hi::rcp(GetLightArea());
    lightsPathVertics[1].fIncomingCosThetaShading = 1;  // NOTE: 仮の値
    lightsPathVertics[1].fOutgoingCosThetaGeometric = ComputeDiffusedVector(
        sample.next(), sample.next(), lightsPathVertics[1].vTangent,
        lightsPathVertics[1].vGeometricNormal, lightsPathVertics[1].vBinormal,
        &(lightsPathVertics[1].vOutgoingDirection));
    lightsPathVertics[1].fSamplingPrev = 1;
    lightsPathVertics[1].fSamplingNext = M_1_PI;
    lightsPathVertics[1].fGeometricFactor = 1;
    lightsPathVertics[1].fBSDFxIPDF = 1;
  }

  for (std::size_t s = 1;;) {
    PathVertex const &oldLightPathVertex = lightsPathVertics[s];
    PathVertex &newLightsPathVertex = lightsPathVertics[s + 1];

    // 交差判定
    Intersection param;
    newLightsPathVertex.pGeometry =
        FindIntersection(oldLightPathVertex.vPosition,
                         oldLightPathVertex.vOutgoingDirection, &param);
    if (!newLightsPathVertex.pGeometry) {
      break;  // シーン外へ
    }

    // 光源に再び帰ってきた場合は,終了する.
    Bsdf const *const pBSDF = bsdfs_[newLightsPathVertex.pGeometry->bsdf()];
    if (Bsdf::LIGHT == pBSDF->What()) {
      newLightsPathVertex.pGeometry = nullptr;
      return;
    }

    // 交点の座標とその点の基底ベクトルを計算
    {
      // 幾何学的法線を基準に基底ベクトルを計算する.
      newLightsPathVertex.SetGeometricBasis(param);
      newLightsPathVertex.bBackSide = param.is_back_side();

      // 入射方向ベクトルをコピーする.
      newLightsPathVertex.vIncomingDirection =
          -oldLightPathVertex.vOutgoingDirection;

      // シェーディング法線の裏から当たった場合は終了する.
      newLightsPathVertex.fIncomingCosThetaShading =
          hi::dot(newLightsPathVertex.vIncomingDirection,
                  newLightsPathVertex.vShadingNormal);
      if (newLightsPathVertex.fIncomingCosThetaShading <= 0) {
        newLightsPathVertex.pGeometry = nullptr;
        return;
      }

      // 輸送されたエネルギーをコピーする.
      newLightsPathVertex.power =
          oldLightPathVertex.power * oldLightPathVertex.fBSDFxIPDF;

      // 交点座標を設定する.
      newLightsPathVertex.vPosition = oldLightPathVertex.vOutgoingDirection;
      newLightsPathVertex.vPosition *= param.t_max();
      newLightsPathVertex.vPosition += oldLightPathVertex.vPosition;

      // 幾何学項を計算する.
      newLightsPathVertex.fGeometricFactor =
          oldLightPathVertex.fOutgoingCosThetaGeometric *
          newLightsPathVertex.fIncomingCosThetaShading /
          hi::square_of(param.t_max());
    }

    // NOTE: 反射回数の限界数を超えたら打ち切る.
    if (++s >= XYZ_CONFIG_kMaxRandomWalkDepth) {
      lightsPathVertics[s + 1].pGeometry = nullptr;
      break;
    }

    // 散乱ベクトルの計算
    if (!pBSDF->LightsToCameraScatteringDirection(&newLightsPathVertex,
                                                  sample)) {
      lightsPathVertics[s + 1].pGeometry = nullptr;
      return;
    }
  }
}

void Scene::EvaluatePathS1(__inout std::vector<PathVertex> &lightsPathVertices,
                           __in PathVertex const &theEyePathVertex,
                           __out std::vector<pixel_descriptor_t> *const pColors,
                           __inout IPrimarySample &sample) const {
  UNREFERENCED_PARAMETER(sample);

  Intersection param;

  // 放射束から放射輝度への変換するための係数の定数部分
  float_t const fFluxToRadianceCoefficient =
      camera_.FluxToRadianceCoefficient();

  // (t=1)の場合の各頂点について処理する.
  for (std::size_t s = 2; s < XYZ_CONFIG_kMaxRandomWalkDepth; ++s) {
    PathVertex const &theLightPathVertex = lightsPathVertices[s];

    // 交点がなければ終了する.
    if (!theLightPathVertex.pGeometry) {
      break;
    }

    // specular surface の場合は処理をスキップする.
    Bsdf::type const theLightPathVertexType =
        bsdfs_[theLightPathVertex.pGeometry->bsdf()]->What();
    if ((Bsdf::MIRROR == theLightPathVertexType) ||
        (Bsdf::GLASS == theLightPathVertexType)) {
      continue;
    }

    // 視点位置から光源の交点位置へ向かうベクトルを求める.
    float3_t const vTheEyeToLightsDirection = hi::normalize(
        theLightPathVertex.vPosition - theEyePathVertex.vPosition);

    // 幾何学的法線と散乱方向ベクトルの内積を求める.
    float_t const fOutgoingCosThetaGeometric =
        -hi::dot(vTheEyeToLightsDirection, theLightPathVertex.vGeometricNormal);
    if (fOutgoingCosThetaGeometric <= 0) {
      continue;
    }

    // シェーディング法線と散乱方向ベクトルの内積を求める.
    float_t const fOutgoingCosThetaShading =
        -hi::dot(vTheEyeToLightsDirection, theLightPathVertex.vShadingNormal);
    if (fOutgoingCosThetaShading <= 0) {
      continue;
    }

    // 幾何学的法線とシェーディング法線と入射方向ベクトルの内積を求める.
    float_t const fIncomingCosThetaShading =
        hi::dot(vTheEyeToLightsDirection, theEyePathVertex.vShadingNormal);
    // float_t const fIncomingCosThetaGeometric = fIncomingCosThetaShading;
    if (fIncomingCosThetaShading <=
        0) {  // カメラでは vGeometricNormal == vShadingNormal
      continue;
    }

    // ピンホールカメラモデルにおけるフィルム上の位置を求める.
    float2_t vFilmPosition;
    if (!camera_.GetFilmPosition(
            theLightPathVertex.vPosition - theEyePathVertex.vPosition,
            &vFilmPosition)) {
      continue;
    }

    // 可視判定を行って遮蔽物がないかチェックする.
    if (FindIntersection(theEyePathVertex.vPosition, vTheEyeToLightsDirection,
                         &param) != theLightPathVertex.pGeometry) {
      continue;
    }

    // 画素の位置を求める.
    {
      std::size_t const jx =
          static_cast<std::size_t>(vFilmPosition[0] * GetWidth());
      std::size_t const jy =
          static_cast<std::size_t>(vFilmPosition[1] * GetHeight());
      std::size_t const j = jy * GetWidth() + jx;
      (*pColors)[s - 1].first = j;  // 正しい画素の位置を設定する.
    }

    // 放射束から放射輝度への変換係数を求める
    float_t const fFluxToRadianceFactor =
        fFluxToRadianceCoefficient /
        hi::fourth_power_of(fIncomingCosThetaShading);

    // 幾何学項を求める
    float_t const fGeometricFactor = fIncomingCosThetaShading *
                                     fOutgoingCosThetaGeometric /
                                     hi::square_of(param.t_max());

    // 経路長がs+t-1(ただしt=1)の経路を生成
    float_t wst = 1;

    // 視線部分経路を延長していく場合の経路密度を計算
    {
      // 視点からこの経路頂点の方向をサンプリングする確率を|rCosIn|で割ったもの
      hi::single_stack<float_t> stack(lightsPathVertices[s + 1].fSamplingPrev,
                                      fFluxToRadianceFactor);

      float_t pst = 1;
      for (std::size_t i = s; i > 0; --i) {
        pst *= lightsPathVertices[i + 1].fSamplingPrev /
               lightsPathVertices[i - 1].fSamplingNext;

        if (!lightsPathVertices[i].bSpecular &&
            !lightsPathVertices[i - 1].bSpecular) {
          wst += hi::square_of(pst * fGeometricFactor /
                               lightsPathVertices[i].fGeometricFactor);
        }
      }
    }
    wst = hi::rcp(wst);

    (*pColors)[s - 1].second =
        theLightPathVertex.power  // NOTE: ランバート面しか扱わないので Lambert
        // クラスでの処理のおかげでつじつまが合っている.
        *
        theEyePathVertex.power *
        (fFluxToRadianceFactor * fGeometricFactor * M_1_PI *
         wst);  // NOTE: M_1_PI はランバート面を考えているため.
  }
}

// 視点から光源に向けて経路を生成する.
void Scene::BuildTheEyePath(__in float_t const x, __in float_t const y,
                            __inout std::vector<PathVertex> &theEyePathVertices,
                            __inout IPrimarySample &sample) const {
  // 初期光線の設定
  {
    camera_.GetPrimaryRayDirection(x, y,
                                   &(theEyePathVertices[1].vIncomingDirection));

    theEyePathVertices[1].power = 1;
    theEyePathVertices[1].fIncomingCosThetaShading =
        hi::dot(theEyePathVertices[1].vIncomingDirection,
                theEyePathVertices[1].vShadingNormal);
    theEyePathVertices[1].fOutgoingCosThetaGeometric = 1;  // NOTE: 仮の値
    theEyePathVertices[1].fSamplingPrev =
        camera_.GetConstFactor() /
        hi::fourth_power_of(theEyePathVertices[1].fIncomingCosThetaShading);
    theEyePathVertices[1].fSamplingNext = 1;     // NOTE: 仮の値
    theEyePathVertices[1].fGeometricFactor = 1;  // NOTE: 仮の値
    theEyePathVertices[1].fBSDFxIPDF = 1;
  }

  for (std::size_t t = 1;;) {  // 再帰的に光線を追跡(末尾再帰)
    PathVertex const &oldTheEyePathVertex = theEyePathVertices[t];
    PathVertex &newTheEyePathVertex = theEyePathVertices[t + 1];

    // 交差判定
    Intersection param;
    newTheEyePathVertex.pGeometry =
        FindIntersection(oldTheEyePathVertex.vPosition,
                         oldTheEyePathVertex.vIncomingDirection, &param);
    if (!newTheEyePathVertex.pGeometry) {
      return;
    }

    // 交点の座標とその点の基底ベクトルを計算
    {
      // シェーディング法線を基準に基底ベクトルを計算する.
      newTheEyePathVertex.SetShadingBasis(param);
      newTheEyePathVertex.bBackSide = param.is_back_side();

      // 散乱方向ベクトルをコピーする.
      newTheEyePathVertex.vOutgoingDirection =
          -oldTheEyePathVertex.vIncomingDirection;

      // シェーディング法線の裏から当たった場合は終了する.
      float_t const fOutgoingCosThetaShading =
          hi::dot(newTheEyePathVertex.vOutgoingDirection,
                  newTheEyePathVertex.vShadingNormal);
      if (fOutgoingCosThetaShading <= 0) {
        newTheEyePathVertex.pGeometry = nullptr;
        return;
      }

      // 輸送されたエネルギーをコピーする.
      newTheEyePathVertex.power = oldTheEyePathVertex.power;
      newTheEyePathVertex.power *= oldTheEyePathVertex.fBSDFxIPDF;

      // 交点座標を設定する.
      newTheEyePathVertex.vPosition = oldTheEyePathVertex.vIncomingDirection;
      newTheEyePathVertex.vPosition *= param.t_max();
      newTheEyePathVertex.vPosition += oldTheEyePathVertex.vPosition;

      // 幾何学的法線と散乱方向ベクトルの内積を求める.
      newTheEyePathVertex.fOutgoingCosThetaGeometric =
          hi::dot(newTheEyePathVertex.vOutgoingDirection,
                  newTheEyePathVertex.vGeometricNormal);

      // 幾何学項を計算する.
      newTheEyePathVertex.fGeometricFactor =
          newTheEyePathVertex.fOutgoingCosThetaGeometric *
          oldTheEyePathVertex.fIncomingCosThetaShading /
          hi::square_of(param.t_max());
    }

    Bsdf const *const pBSDF = bsdfs_[newTheEyePathVertex.pGeometry->bsdf()];

    // NOTE: 反射回数の限界数を超えたら打ち切る.
    if (++t >= XYZ_CONFIG_kMaxRandomWalkDepth) {
      theEyePathVertices[t + 1].pGeometry = nullptr;
      return;
    }

    // 光源が直接可視の場合の処理.
    if (Bsdf::LIGHT == pBSDF->What()) {
      theEyePathVertices[t + 1].pGeometry = nullptr;
      return;
    }

    // 散乱ベクトルの計算
    if (!pBSDF->CameraToLightsScatteringDirection(&newTheEyePathVertex,
                                                  sample)) {
      theEyePathVertices[t + 1].pGeometry = nullptr;
      return;
    }
  }
}

void Scene::EvaluatePathST(__inout std::vector<PathVertex> &lightsPathVertices,
                           __inout std::vector<PathVertex> &theEyePathVertices,
                           __inout CIE_XYZ_Color *const pColor,
                           __inout IPrimarySample &sample) const {
  UNREFERENCED_PARAMETER(sample);

  // (t>1)の場合
  Intersection param;
  for (std::size_t t = 2; t < XYZ_CONFIG_kMaxRandomWalkDepth; ++t) {
    PathVertex &theEyePathVertex = theEyePathVertices[t];

    // 交点がなければ終了
    if (!theEyePathVertex.pGeometry) {
      break;
    }

    Bsdf::type const theEyePathVertexType =
        bsdfs_[theEyePathVertex.pGeometry->bsdf()]->What();

    if (Bsdf::LIGHT == theEyePathVertexType) {
      // 経路長がs+t-1(ただしs=0)の経路を生成
      float_t wst = 1;

      if (t > 2) {
        // 光源部分経路を延長していく場合の経路密度を計算する.
        // 光源に衝突すると経路が終了するので上書きしてよい.
        theEyePathVertices[t + 1].fSamplingNext =
            lightsPathVertices[0].fSamplingNext;  // P_{A}(x_{1})
        theEyePathVertex.fSamplingNext = M_1_PI;  // 平面光源なので
        {
          float_t pst = 1;
          for (std::size_t i = t; i > 1; --i) {
            pst *= theEyePathVertices[i + 1].fSamplingNext /
                   theEyePathVertices[i - 1].fSamplingPrev;

            if (!theEyePathVertices[i].bSpecular &&
                !theEyePathVertices[i - 1].bSpecular) {
              wst +=
                  hi::square_of(pst / theEyePathVertices[i].fGeometricFactor);
            }
          }
        }
        wst = hi::rcp(wst);
      }

      *pColor += lightsPathVertices[1].power * theEyePathVertex.power *
                 (hi::rcp(GetLightArea()) * M_1_PI *
                  wst);  // NOTE: ランバート反射面のみ扱う.

      break;
    }

    // specular surface の場合は処理をスキップする
    if ((Bsdf::MIRROR == theEyePathVertexType) ||
        (Bsdf::GLASS == theEyePathVertexType)) {
      continue;
    }

    // 各頂点について処理する.
    for (std::size_t s = 1; (s + t - 1) < XYZ_CONFIG_kMaxRandomWalkDepth; ++s) {
      PathVertex const &theLightPathVertex = lightsPathVertices[s];

      // 交点がなければ終了する.
      if (!theLightPathVertex.pGeometry) {
        break;
      }

      // specular surface の場合は処理をスキップする.
      Bsdf::type const theLightPathVertexType =
          bsdfs_[theLightPathVertex.pGeometry->bsdf()]->What();
      if ((Bsdf::MIRROR == theLightPathVertexType) ||
          (Bsdf::GLASS == theLightPathVertexType)) {
        continue;
      }

      // explicit sampling 用の経路を生成してみる.
      float3_t const vLightsToTheEyeDirection = hi::normalize(
          theEyePathVertex.vPosition - theLightPathVertex.vPosition);

      // 幾何学的法線と散乱方向ベクトルの内積を求める.
      float_t const fOutgoingCosThetaGeometric = hi::dot(
          vLightsToTheEyeDirection, theLightPathVertex.vGeometricNormal);
      if (fOutgoingCosThetaGeometric <= 0) {
        continue;
      }

      // シェーディング法線と散乱方向ベクトルの内積を求める.
      float_t const fOutgoingCosThetaShading =
          hi::dot(vLightsToTheEyeDirection, theLightPathVertex.vShadingNormal);
      if (fOutgoingCosThetaShading <= 0) {
        continue;
      }

      // 幾何学的法線と入射方向ベクトルの内積を求める.
      float_t const fIncomingCosThetaGeometric =
          -hi::dot(vLightsToTheEyeDirection, theEyePathVertex.vGeometricNormal);
      if (fIncomingCosThetaGeometric <= 0) {
        continue;
      }

      // シェーディング法線と入射方向ベクトルの内積を求める.
      float_t const fIncomingCosThetaShading =
          -hi::dot(vLightsToTheEyeDirection, theEyePathVertex.vShadingNormal);
      if (fIncomingCosThetaShading <= 0) {
        continue;
      }

      // 交差判定を行い二頂点間に遮蔽物がないか確認する.
      if (FindIntersection(theLightPathVertex.vPosition,
                           vLightsToTheEyeDirection,
                           &param) != theEyePathVertex.pGeometry) {
        continue;
      }

      // 幾何学項を計算する.
      float_t const fGeometricFactor = fIncomingCosThetaShading *
                                       fOutgoingCosThetaGeometric /
                                       hi::square_of(param.t_max());

      // 経路長がs+t-1の経路を生成する.
      float_t wst = 1;  // この経路自身の重み

      // 視点から光源方向へ経路を延長していく場合の経路密度を計算する.
      // つまり,光源から視点方向へ生成した経路を逆方向にたどる.
      {
        // 現在の視点経路頂点から光源経路頂点をサンプリングする密度を設定する.
        hi::single_stack<float_t> stack(
            lightsPathVertices[s + 1].fSamplingPrev,
            M_1_PI);  // TODO: 要修正(これはランバート面の場合だけ)

        // 相対的な重みを蓄えていく.
        float_t pst = 1;
        for (std::size_t i = s; i > 0; --i) {
          pst *= lightsPathVertices[i + 1].fSamplingPrev /
                 lightsPathVertices[i - 1]
                     .fSamplingNext;  // 境界条件を後でチェックする

          if (!lightsPathVertices[i].bSpecular &&
              !lightsPathVertices[i - 1].bSpecular) {
            wst += hi::square_of(pst * fGeometricFactor /
                                 lightsPathVertices[i].fGeometricFactor);
          }
        }
      }

      // 光源部分経路を延長していく場合の経路密度を計算
      {
        hi::single_stack<float_t> stack(theEyePathVertices[t + 1].fSamplingNext,
                                        M_1_PI);  // TODO: ランバート面なので

        // 相対的な重みを蓄えていく.
        float_t pst = 1;
        for (std::size_t i = t; i > 1;
             --i) {  // NOTE: ピンホールカメラモデルなのでiは2まで
          pst *= theEyePathVertices[i + 1].fSamplingNext /
                 theEyePathVertices[i - 1].fSamplingPrev;

          if (!theEyePathVertices[i].bSpecular &&
              !theEyePathVertices[i - 1].bSpecular) {
            wst += hi::square_of(pst * fGeometricFactor /
                                 theEyePathVertices[i].fGeometricFactor);
          }
        }
      }
      wst = hi::rcp(wst);

      *pColor += theLightPathVertex.power  // NOTE:
                 // ランバート面しか扱わないのでつじつまが合っている.
                 *
                 theEyePathVertex.power *
                 (fGeometricFactor * (M_1_PI * M_1_PI) *
                  wst);  // TODO: M_1_PI はランバート面だけしか扱わないため.
    }
  }
}


text:
Rehabilitation Center Community Services Training and Employment Programs Career Opportunities Independent Living Store Advocacy
Overview Local employment services Student Training and Employment Program Salesforce Admin Training Business Enterprise Program
Putting People to Work
Seventy percent. That's a big number. It's the current national unemployment rate for people who are blind or visually impaired. And it's the reason why creating job opportunities is one of our top priorities.
Financial stability. Sense of purpose. Renewed self-confidence. That's what a job can do. But the benefits go much deeper. For our communities, it's the opportunity to access a capable and eager talent pool, and it's the chance to build a strong, diversified workforce. Creating employment for people who are blind or visually impaired changes lives – and communities – for the better.
We're creating employment through a range of services and programs.
Learn more about working at Bosma Enterprises.
We work with both job-seekers and employers to create employment opportunities. We offer job training for people who are blind or visually impaired, along with vocational skills and career coaching. We also work with local businesses to create job opportunities, and we help companies prepare to employ a person who is blind or visually impaired.
Student Training and Employment Program (STEP)
We help high school students who are blind or visually impaired prepare to enter the workforce. Through training, vocational skills and career coaching, we get them started on the road to success.
Bosma Enterprises Rehabilitation Program is working in partnership with the Bureau of Rehabilitation Services and Blind and Visually Impaired Services to assess and train people who are blind or visually impaired to manage a business.
Join us in our mission to create opportunities for people who are blind or visually impaired. We welcome applications from people who are blind or visually impaired, and from anyone who shares our vision.
Learn more about current job openings
Ticket to Work Program
We assist people who have a disability and receive Social Security benefits to discover career interests, find job leads and prepare for interviews.

redpajama_set_name: RedPajamaCommonCrawl


text:
Drug czar post for a drug war critic: The strange place Leni Robredo is in
Jeline Malasig
November 8, 2019 - 2:44 PM
Vice President Leni Robredo banters with officials of the Philippine Army's 2nd Infantry Division after taking breakfast with them at Camp Capinpin sa Tanay, Rizal in a photo released on Nov. 7, 2018. (OVP)
Vice President Leni Robredo accepted the Duterte administration's offer to designate her as a key official in the brutal war on drugs she has long criticized for causing the deaths of thousands of suspected drug users, dealers and runners ahead of trial.
Robredo made an announcement earlier this week that many, her allies in the Liberal Party included, wished she didn't—to become a co-chair of the Inter-Agency Committee on Anti-Illegal Drugs or ICAD.
A memorandum signed by Duterte dated Oct. 31 formally appointed her on the position that would last until the end of his term in 2022.
He also mentioned that relevant agencies such as the Philippine Drug Enforcement Agency, the Philippine National Police and policy-making body Dangerous Drugs Board are ordered to "extend their full assistance and cooperation" to her to ensure a "successful" narcotics crackdown.
Robredo said that she is aware the offer is suspect; that it could be a trap setting her up for failure. She said she will endure the expected politics and warned the Duterte government to be ready for her.
Explaining her decision, Robredo said she wanted to seize the chance to save lives. "Because if I could save at least one innocent life, my principles and my heart dictate that I should try," she said.
And what exactly is her function?
While there were some administration-allied lawmakers who welcomed her acceptance of the position, other Filipinos claimed that the ball might not be entirely on Robredo's court.
Her spokesperson, for one, admitted that the position's functions are still unclear. For one, the Executive Order 15 creating the ICAD does not have a provision for a co-chair.
"What happens in the next few days, actually, that is up to the administration. We will see if they were serious about it," lawyer Barry Gutierrez said.
Atty. Barry Gutierrez speaks in a conference. (Photo from Facebook page of Atty. BarryGutierrez)
ICAD is an agency tasked to implement the administration's anti-narcotics campaign through policies, laws and issuances. It is head by PDEA and is composed of four clusters—the Enforcement, Justice, Advocacy and Rehabilitation and Reintegration Cluster.
Panelo previously said that "all offices, bureaus, agencies or government instrumentalities involved in the enforcement of the law on prohibited drugs" will be placed under Robredo's supervision with a "Cabinet secretary portfolio."
However, reports note that he "did not categorically answer if Robredo can suspend anti-drug operations without President Duterte's permission, given her new role."
Back with the team that shunned her
Robredo, a stalwart of the opposition Liberal Party, was previously chief of the Housing and Urban Development Coordinating Council or HUDCC in Duterte's first year in office.
The position elevated her to Cabinet before the president asked her to stop attending meetings a few months into the post in December 2016.
Robredo described the order as the "last straw" after the executive branch failed to support HUDCC during her stint as chairperson.
The 2017 budget of the council's key shelter agencies were "slashed by more than P19 billion" while their key shelter agency appointment recommendations "were not acted on."
"I had hoped that this shared commitment to the poor and marginalized would transcend the differences between us. So, I took the job of Housing Secretary when it was offered to me," she said.
Some Filipinos were not warm to the idea that Robredo is again working with the administration that cut her off from gaining access that would allow her to accomplish her objectives.
"Not a fan of Leni accepting the position. Drug issues, like poverty, are multilayered. Unless she's given power over all relevant agencies, including the DOH, DepEd, TESDA, etc. this is not going to work. HUDCC nga dati she kept getting roadblocked by sycophants e," a Twitter user wrote.
drug czar
Vice President Leni Robredo slams OWWA official Mocha Uson anew for spreading fake news
Change of heart: Robredo critic Lorraine Badoy once supported the vice president
Findings of Leni Robredo's drug war report are based on government data
MMFF's 'Miracle in Cell No. 7' juxtaposed with the controversial drug war
National Geographic's 'The Nightcrawlers' on Philippines' drug war shortlisted for Oscars
Executive order states Robredo is entitled to documents on national security


The expenses crisis, the resignation of the speaker - it all proves what we may have forgotten in our complacency, that as GK Chesterton put it: "Sin is a fact as practical as potatoes." It is one of the Christian doctrines that needs no extra proof.
The 17th century was a time of great political upheaval in Britain, leading to much writing. The great pastor Richard Baxter was one who set forth his policital vision in his book: "A holy commonwealth."
One of his assumtions was that no-one was fit to hold political office or to engage in the weighty task of politics even by voting unless they were a committed Christian and so attending and not under the discipline of their local church. His reasoning was that such tasks required regeneration - the new heart, that could act with wisdom and godly integrity.
Of course in our secular culture such a vision is impractical. But it reminds us that it is hard enough even as regenerate believers to resist temptation, especially over monetary matters that may not be illegal, but are certainly not fully honest.
to remain aware of the particular corruptability of our politicians when given opportunity, and so to put in place protections to ensure their integrity.
to be realistic that our politicians are imperfect people just like us, and so bring all sorts of personal agendas, presuppositions to their work and policy making, meaning that we should remain vigilent as to when they may be pushing an agenda for personal reasons or simply because they are worldly in their ideas.
to be thankful for democracy as the best of the bunch of forms of government, in giving the electorate a means of removing those who fail in the role.
to be prayerful for Christian politicians, that they would resist temptation, and rise to positions of prominence in which they can shape policy according to God's will (see Romans 13).


I met Sharleen when she came along with Gustav Fredell to deliver a guitar of his. I decided to order a guitar from her just before Gustav passed away. It was a tragic loss to the guitar making community and to Sharleen in particular. She has bravely decided to carry on and will soon be returning from Sweden to her native Newfoundland.
The first guitar will be a tribute to Gustav. I am looking forward to this one and many more.
From Sharleen. "I am very happy to share my passion for lutherie with you, and I work everyday to build guitars with beautiful tone, creative design, and ease of play-ability. I believe a true musicians instrument should be all of these things- finely crafted, thoughtful, and should immediately feel like an old friend and inspire many hours of beautiful music.
Of course I would not be able to share my work with you without the help of my mentors over the years- from Gordon O'Brien, at O'Briens Music Store in St. John's, Newfoundland, where I began repair work many years ago, to Bryan Galloup at Galloup School of Lutherie, and Michael Greenfield, Greenfield Guitars where I was privileged to apprentice. I also could not begin to list the countless other guitar makers who continue to inspire me and my work everyday. To my family and friends who have supported me on this journey in following my dreams, I send endless thanks. And finally, to Gustav Fredell, my partner in life and lutherie who I share a home and workshop with in Lidköping, Sweden, none of this would be possible and I am ever grateful.
I sincerely hope you enjoy my work and I look forward to sharing my instruments with you all."
I am gobsmaked, overawed and over the moon. If you think this beauty looks great you should hear it. Forget any thoughts of small body tone this is at least the equal any OM and many an SJ in the volume and depth department.


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Home » Comics » So Where Is Red Wolf's Shirt Anyway?
So Where Is Red Wolf's Shirt Anyway?
Posted by Rich Johnston June 18, 2015 Comment
Kenneth Kimbrough writes for Bleeding Cool:
Two weeks ago, Marvel announced that the Native American character, Red Wolf, would soon receive his own series. While I was excited to hear that a Cheyenne character would be headlining his own book, I became worried once I saw the corresponding publicity image. Where was Red Wolf's shirt? Comics' lack of Native Americans with shirts has become something of a joke between myself and one of my professors who works with Native American literature. I regularly share portrayals of Native Americans in comics, and we discuss how wrongheaded many of them are. And sadly, many mainstream publishers have had more harmful images than helpful. On the openly malicious side, both Batman (Batman #86) and Superman (Action Comics #148) have had stories that involved the heroes either stepping in as white saviors or fending off Native American land claims (land claims that are one hundred percent legitimate, by the way).
But there's another side to representing Native Americans that is just as harmful, usually when characters are handled without much research into their specific tribes or their tribes' worldviews—if any thought is given to tribe at all. In this approach, Native American characters are overdetermined by their Native American-ness to the point that they become stereotypical caricatures that play into common misrepresentations from film and popular culture.
Their costumes generally include feathers, war paint, war bonnets, moccasins, bone breastplates and pseudo-Native American symbols employed not for historical accuracy but rather to drive home the point that the characters are indeed Native Americans. Their powers also tend to involve Indigenous religion or spirituality in some way (e.g., Red Wolf, Forge, Puma, Talisman, and of course, Shaman). Michael Sheyahshe, in Native Americans in Comic Books, compares these innate spiritual abilities to assuming that "within every Anglo…there is a latent priest/scientist/doctor." Not only is the assumption ridiculous, but it elides the fact that being a spiritual leader ("shaman" is a contentious term in recent Native scholarship) requires just as much expert training.
When Red Wolf (William Talltrees) was originally introduced by Roy Thomas and John Buscema in Avengers #80, he followed many of these design rules, and although well-intentioned, his introduction is laden with awkward, condescending dialogue and narration, often with reference to the color of his skin (I'll give you three guesses as to which color). John Ostrander did a better job cutting out the pidgin English, but the character's look was still problematic. Most recently, Red Wolf appeared as part of the Rangers in Scarlet Spider. In this version, he sported a breastplate in lieu of a shirt.
However, it hasn't escaped my attention that Red Wolf's series takes place in the world of Secret Wars: 1872. And if Hollywood is to be believed, 1872 is long before The Cheyenne had developed the technology known as the shirt. But here in the real world, any glance at Cheyenne portraits from 1872 reveals that the myth of the shirtless Native American is patently false. Below are some Southern Cheyenne men in 1879, and as you can see, everyone is fully clothed. This particular picture is from the forums on www.American-Tribes.com. But more pictures are available at www.firstpeople.us.
So why is Red Wolf's lack of a shirt such a problem? The Hulk often goes without a shirt, and I'm not levying the same criticisms against his design. The main difference here is that the Hulk's body is an image of superhero empowerment. Red Wolf, on the other hand, is involved in a much longer and more problematic history of colonial rule. The reason I fixate on Red Wolf's shirtlessness is that the non-European body has often served as a site of imperialist rhetoric. The unclothed or partially unclothed body was often depicted as an excuse to subjugate, serving to justify exploitation and violence enacted upon Native Americans.
Often, the images reported to the mother country were exaggerated (if not wholly manufactured) to contrive a rationale for expeditions and missions of "civilization." A similar case is the Twilight films and novels with their depictions of Native Americans as "savage" werewolves in contrast to the "civilized" and literally white vampires. The image of the shirtless Indigenous person is a very old one that persisted into the twentieth century and was eventually adapted to other ends. While many Native American tribes fought—and still fight—for legal recognition from the U.S. government, popular media has continued to depict American Indians as shirtless, uncivilized people who (ironically) don't fit into U.S. culture. This outsider status has usually been depicted by placing Native Americans as cannon fodder for cowboys in Westerns and as narrative obstacles rather than actual people. Nonetheless, the shirtless Native American is an old image that has persisted through centuries, and its use is almost never benign.
While I'm at it, another of Red Wolf's problems is that he derives his powers from a fictional wolf god, Owayodata. Although wolves are prominent in many Native American folk tales, this deity is made up for a fictional version of the Cheyenne (which group of Cheyenne is not specified). He's loosely based on the Navajo figure, Naayéé'neizghání, whose story is far more interesting, but altogether, Owayodata is presented as a pantribal Native American god, ignoring that there are numerous tribes with their own systems of religion, each with their own respective spirits and gods. Some are shared, and some are similar. But the insistence on pantribal general customs and clothing ignores the realities of tribal life and the constant struggle for cultural recognition—cultural recognition that is asserted through articulating very specific ways of life with their own particular languages, practices, and of course, religions. Presenting a distorted view of Cheyenne beliefs only does damage to this endeavor. It would be like inserting an extra God into Christianity and then claiming that that's where your Christian superhero gets his powers.
In Marvel's defense, this article is a lot to write about based one image. The creative team hasn't even been announced yet, and there's no indication that the book will play into cultural stereotypes narratively. Although I immensely respect Doc Shaner (who came up with the new design) and I tend to enjoy his other work, Red Wolf was already a problematic character with a troubled history, one that is continually repeated in mainstream comics. Though the the design is out of Doc Shaner's control now, the character's inclusion in the publicity image for "All-New All-Different Marvel" raises baffling questions about what Marvel wants to put forth as their only leading Native American character. Should a Cheyenne person feel okay cosplaying this character? What kind of response would come from a non-Native person dressing like Red Wolf? How would this character look if adapted to film or television? Should he be interpreted as anything but a gross cultural misappropriation?
Red Wolf's solo series may still be at a stage where some care with visual design could preempt an offensive misfire. Marvel even has other Native American heroes with great costumes that aren't stereotypical. Wyatt Wingfoot, Forge, Dani Moonstar and American Eagle (the leather jacket version) are all great Native American heroes who stand on their own and (usually) don't play into cultural stereotypes. Special care should be given to trying to understand the implications of Red Wolf's visual design and how that fits into larger discussions of Native Americans in popular media and cultural misappropriation. In an ideal world, Red Wolf would be written and illustrated by people intimately familiar with Cheyenne imagery and worldviews. There are plenty of Southern Cheyenne and Cheyenne Arapaho writers and artists who would probably love to reinvent the character. At the very least, just give Red Wolf a shirt (not just a breastplate). 45 years is long enough.
Kenneth D. Kimbrough studies comics and film at the University of Oklahoma. All heckling should be directed at his poorly-maintained twitter, @KennethCSquared.
(Last Updated June 18, 2015 6:04 pm )
He-Man Has A Multiverse Too
How Not To Talk About Your Exhibiting Artists On Facebook – Saskatoon Blitz And Lyeric


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Autumn/winter lingerie collection 2019 by Andrés Sardá
The creative team at Andrés Sardá has drawn inspiration for this season's four collections from big names in art history. Painters such as Albrecht Dürer (known as Alberto Durero in Spanish), Tiziano Vecellio, Giotto di Bondone, and Michelangelo inspired elegant and sexy collections in Renaissance style.
The items in the Giotto line are made from tulle with plumetis embroidery in the form of dots, with an elastic lace edging and beautiful detailing on the velvet straps. This adds a hint of autumnal warmth. The focus of Giotto is on two color combinations. There is one set in the color Rioja (an intense burgundy with a pink accent) and a two-tone set in navy blue and nude (Majestic Blue). These color combinations create the kind of strong contrast popular in the Renaissance. The collection is available in the standard models: an underwired bra, a padded bra, and a low-cut seamless model. The Giotto collection also includes a sexy body with a sensual cut, a trikini model in the form of luxury lingerie.
The items in the second line, Tiziano, are made of a combination of elastic Leavers lace with floral print and satin polyamide. This line is characterized by luxurious satin details in strategic places such as the straps and the center of the bra or briefs. The crossover satin details bring together the matte and glossy sides of the satin, creating a beautiful matte-gloss contrast. Tiziano is available in three colors: natural ivory (Vintage Natural), classic Black, and striking strawberry red (Persian Red). The line includes an underwired bra, a padded bra, and a push-up bra. The lace briefs are available in the models thong, classic, and high-waisted briefs. The collection also includes a special three-piece satin set with a deep cut thong in eighties style and the same matte-gloss contrast.
The third line, Michelangelo, is Andrés Sardá's most luxurious collection for this autumn. The items of this line are made of natural silk from Lyon with a little elastane in two contrasting colors, combined with insets of elastic Leavers lace. There are two color combinations: blue with mustard yellow and black lace (Moonlight), and fuchsia with red and black lace (Wild Berries). The bras are available in the standard models: underwired bra, padded bra, padded balcony bra, and a triangle bra without underwiring in bralette model. The briefs are available in the classic, thong, and high-waisted models with detachable garters. There is a matching nightdress that can be worn as a top and can be used as both lingerie and outerwear.
Eden Rock is the collection intended for everyday use. The items in this collection are made of tulle with inlaid lace, double spaghetti straps, and a detail of Swarovski crystal. The models are available in three colors: Black, Topaz Blue, and Wine. The bras are available in the models underwired bra, padded bra, push-up bra, and bralette without underwiring or padding, which can also be worn as a top. The briefs are available in the models classic, thong, and boxer short with the back made entirely of lace. This is lingerie in a truly luxurious form.
Eden Rock also includes a small capsule collection, Durero, in which nude-colored elastic tulle is combined with black velvet and lace with a beautiful floral print. The bra is available in the standard models, both padded and non-padded. The briefs are available in the models classic and thong, and there is also a body which highlights the beautiful black velvet.
Click here for more visuals.
About Andres Sarda
Andres Sarda is a lingerie brand built on creativity, exquisiteness and innovative materials. A family firm with roots in the 19th century textile industry that has successfully adapted to the new times without renouncing the principles of quality and fashion in its swimwear and lingerie collections. A label designed for and by women that live for comfort, style and feminine beauty.
Luxury lingerie and Swimwear designed in Barcelona since 1962.
Every visitor to this web site is requested to take note of the terms and conditions. By the mere fact of consulting this website, the visitor understands, accepts and observes all the conditions and guidelines set forth herein. (https://www.andressarda.com/UK...) More information about personal data and our processing activities: https://www.andressarda.com/UK...
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Agaleptus drumonti é uma espécie de coleóptero da tribo Callichromatini (cerambycinae), com distribuição apenas na Tanzânia.

Agaleptus
Fauna da Tanzânia
Coleópteros descritos em 2007

redpajama_set_name: RedPajamaWikipedia


At the time of writing several large retailers had special offers on certain MB games so look around and you may even beat the prices I can find. Here I am looking at an International version of Subbuteo and Operation Rapid Response.
It was certainly a long time ago when I played Subbuteo - I seem to rember that my older brother always thrashed me - but that was the prerogative of an older brother.
While the green playing surface is the same not much else is. The players used to be cardboard now they are high quality plastic (three to a card) and with the 'Dream Team' they come from different teams. Of course you can get extra players and now they come with additional help in the form of Cobra and Sidewinder bases to inpart extra skills.
I must admit I only remember the pitch and goals now you get to build a stadium with an all important clock that sits high above the pitch. There is a large sheet to show the rules and how to make the players work their skills.
The big four Premiership clubs Manchester Utd, Chelsea, Liverpool and Aresnal as well seven European clubs provide the players. Stated as a game for two players with a likely game time of thirty minutes. Suggested age is 6+.
I am a little surprised that there are only twelve per team with three substitutes from five allowed nowadays. Still I dare say the players in the teams will probably be more important than the game itself. The Cobra and Sidewinder bases (only one of each in the sets supplied) but of course along with the extra players you can purchase extra bases.
Doing my Internet searches found Subbuteo Dream Team Stadium at a best price of £19.99 (a full third off the expected street price) and this includes free delivery from the first link below.
Perhaps the forerunner to doctors and nurses but with the modern world there are more lady doctors and certainly a lot more male nurses so maybe the stereotype is dying.
A game is said to take only fifteen minutes and there can be between two and four players. The age recommendation is six plus.
It seems Cavity Sam has more things wrong him than ever before. For those who have never come across Operation the whole object is to remove/insert pieces into the correct place in Sam's body.
The whole thing is electronically controlled (no electric shocks honest) so that stops there being any arguments about who's turn it is and who is in the lead. There are three different skill levels - degree of accuracy required - and the medical equipment is a pair of tweezers.
At the top of the operating table (the contents of the box folds out to form this) is the heart monitor - Sam's I think - being right up to date Sam has problems with his texting thumb and his joystick wrist along of course of all the other problems he had in earlier versions.
Of course what you really don't want is for Sam to wake up during the operation.
Doing my Internet searches found Operation Rapid Response at a best price of £13.98 from the first link below free delivery comes in when you spend £15.


The World population has now reached 7.5 billion people. This milestone inspired us to use the statistics describing the present state of our humanity on the planet Earth.
Based on criteria such as age, nationality, gender, religion, or language, we have designed 17 infographics posters. Can you imagine the world as a village of 100 people? Do you know your neighbors?


Add function and architecture, while increasing usable space, by adding a retaining wall to your landscape. Hills and sloped earth create runoff and erosion that need to be retained in order to keep your yard clean and functioning. Retaining walls can significantly increase space which can be utilized in many ways. From engineered blocks, to a natural stone look, our team has the knowledge and expertise to design and build retaining walls that are engineered with required precision.


The militia group occupying a Fish and Wildlife Service facility in Oregon is costing the government tens of thousands of dollars per day, as three federal buildings remain closed due to safety concerns.
In addition to the Malheur National Wildlife Refuge facility, buildings maintained by the Bureau of Land Management and Forest Service have also shuttered due to potential security threats to their employees. Nearly 120 permanent and seasonal employees report to BLM's district office in Burns, Ore., nearly all of whom are now on paid administrative leave.
The salaries of those workers total approximately $117,000 per week, according to a BLM spokesman. The office has already been closed for more than one week. About 50 more employees work at the refuge center or the Forest Service's Emigrant Creek Ranger District office, many of whom are also on paid leave.
Federal and local law enforcement have said they will, at least for the time being, allow the armed militia members to come and go from the FWS facility freely. The White House has said as long as federal personnel are safe, they will leave responsibility for the situation to local officials.
The militia group, which has occupied the FWS refuge since Jan. 2 in its fight to limit the size and power of the federal government, has now given scores of federal employees a week's paid vacation on the government's dime.


Would you pay attention if someone came up to you and said, "I know every person who is looking for your ministry at this very moment and needs to hear what you have to say"?
And if they added, "If you provide a few basic information to me, I will share it with them and help them find you", would you share the details with them?
Of course, you would. Duh!
That is exactly what Google does. And one of the primary ways Google does this within a particular geographical location is by using its free tool called Google My Business, which is the mother of all local directories.
Today, we are going to learn how it works and how to list your church or ministry in Google My Business for free!
Have you ever used your mobile phone to look for a restaurant near you?
When you do that, you will notice how Google lists names of restaurants with useful information like opening time, distance with a call or website button and some relevant pictures. This search result comes from the data on Google My Business (used to be called Google Places) listing.
Now you can also use the same tool for your church or ministry location and show up in these search results when people search for phrases like 'churches near me' or 'place of worship in this neighbourhood', etc. For example: when someone is visiting a new place or city on a Sunday, they tend to look for a place of worship or a church to attend, usually using their mobile phone. When they do that, they will be able to find your church if you are listed on Google My Business.
Once you are listed, even your own congregation can share this local listing with their friends and family when they invite them to church for the first time. Since it is integrated with Google Maps, it can also help people navigate and find the best route to get to your church. Isn't that awesome?
If someone asked me, "What is the one important thing that every church or ministry needs to do when they start their online ministry effort?", I would say, "Go register for a free Google My Business account".
It is simple, free, easy, effective and helpful to your audience.
Do it first: In fact you should do this as the very first step, even before you put up a website or set up your Facebook page.
Do it right: But you need to do it right. Google prescribes a certain process to do this listing. If it is not done right, then the effectiveness of this tool is lost.
In my consulting assignments, I find that this listing for churches are usually done by a church member or a volunteer or a staff using their personal Gmail ids (using a Google id is a pre requisite). And sometimes I see multiple entries for the same ministry location by multiple people with various formats of addresses, different details, etc. Since this is one of the primary means by which Google understands your ministry – like address, phone, location, directions, service timings, etc., it is important that you provide this information in the way that makes sense to Google.
How to setup Google My Business account for your Church?
When you choose the Google account that you will use for setting up Google My Business listing, discuss this with your team and choose the right one.
EXPERT TIP: One of the best practices that I recommend is, you use the same Google account that you use for your YouTube channel and Google+ account of your ministry. That way, all your ministry accounts are under the same Google login and it makes it easier for you to delegate or handover the details later to a team. NOTE: Do not use your personal gmail id. Create one for the ministry and use it.
Visit Google My Business site and register for a free account.
Use the name by which you are popularly known or the way it is registered. Do not use short forms or abbreviations.
Be extra careful with this step because your ministry will be listed on Google Maps and other properties of Google based on this information. You can double-check the address when you go to the next step of placing the marker on the map. If you see the exact location, you are good. If not make sure the address is right and move the marker to the right spot if you have to.
In a few words explain the nature of your church or ministry. The detail that you would like people to know when they find you online. The words you use here may be used by Google to determine whether you are a relevant place to pull up when people search on Google. For example: If your description says Christian Family Counselling Service. Then when people search for the phrase 'family counselling near me' Google may display your details as part of the search results.
This is important and this will show up along with the results. The number you provide here is the one that will pop up on people's mobile phones when they click the green call button ?that shows up in search results. So think about which number is best when it comes to listing.
That is it. After this you will click 'Finish' and move on to verification.
Google wants to keep the search experience great for its users. So they like to verify every single listing. It is a simple process of verification through phone call or a post-call that will be mailed to you. The first option is quicker and easier, the second takes time but it also works. Both are equally effective.
EXPERT TIP: I strongly recommend not to skip this step. You will be able to respond to questions and make changes to a listing only after verification.
Posts – This is a powerful way to communication with your audience by posting special messages, weekly videos, photos, etc. As of now each post disappears after 7 days (except if its about an upcoming event that is beyond 7 days). So keep them fresh and post on a weekly basis.
Insights – These are analytics and metrics to show you what works.
Manage Locations – An important tab if you have multiple ministry locations or church branches and you like to keep them all under the same roof (account).
You are almost done with setting up Google My Business for your ministry. Before you close make sire that you complete your listing. You will see a percentage indication on your screen, check and make sure you complete the steps. You can additionally add 360 degree photos of your ministry location or church auditorium or sanctuary (I personally think every church should do this). I also recommend that you check your reviews on a regular basis, learn from them, respond to them and engage with your audience.
Mobile Apps – Finally you will see a link to the iOS and Android Apps that will help you manage your Google My Business listing on the go. Definitely check them out and download them.
Congratualtions! Now you are all set and your church is ready to appear in front of people when they look for you online.
If you have specific questions related to Google My Business or local listing, do let me know and I am happy to answer them.


FROM a late night steak diner in Manchester to a McDonald's in New Zealand, in-flight meals have never tasted so good.
FIVE million holidaymakers travelling to Spain this Easter will face flight chaos if an indefinite strike by 60,000 ground handling staff goes ahead. But when over the Easter weekend is it expected to happen, which airports will be affected and why is there a strike happening?
Do I need to renew my passport after Brexit?
SPOT orangutans on a seven-day trip to Malaysia where you can relax at the Kinabalu National Park or check out Kenya's Rift Valley and spend five days on a safari in one of the last cheetah strongholds. You can see the animals of the world on Trailfinders holidays.
IT can be hard to keep older grandchildren entertained during the Easter holidays. We help a fit granny of 66 from Durham find adventures for her 14-year-old grandson from St George's Park facilities for the England team to driving at Newcastle Racecourse.


When it comes to fixing things around the house DIY may be appealing, but is it the right decision? Would a contractor do it better? Here is a look at the things to consider before you start hammering down walls yourself.
First, check whether the project requires any special permits and qualifications. Although most household projects can be done without any special requirements, there are certain electrical wiring and plumbing projects that require a permit or even professional qualifications. You might require building permission if you are building an extension to your home, or you might need to ensure you follow building regulations if you are doing any electrical wiring. You can find out about how to apply and what the specific requirements are for certain projects at the government portal.
Requirements like these don't necessarily mean you need to use a contractor, but that you need to file an application. It might be easier to let the contractor deal with these issues, though you should still check they're qualified and cleared to do the work before they start. If you didn't follow the right procedure, or you didn't use a qualified professional and something goes wrong, it could affect the outcome of any home insurance claim you make against any damage.
Consider your own skills and think about whether you can do it. Do you really know what you're doing or are you just trying to save money?
If you've been doing DIY all your life and you feel at home with machinery, you could probably fit a kitchen with relative ease. On the other hand, if you find hammering a nail in a straight line an impossible task, you probably shouldn't consider tiling your bathroom on your own. Be honest with yourself when you considering your skills. We all like to think we can manage even the toughest of jobs, but you shouldn't overestimate your abilities when it comes to working on your home. If you feel uneasy or hesitant about the project, you should definitely at least talk to a contractor before you start work.
The more work your project requires, the more difficult it might be. Consider how quickly you want the project to finish and how much time you have at hand. Although you might be able to figure out how to fit a kitchen, you might not have enough time to finish it within a reasonable timescale. If you are doing the DIY in your spare time your project might end up lasting twice as long as it would if a contractor did it.
If you have a stressful job DIY can be good for a spot of escapism, if you aren't in a rush, and having a part of your home under construction doesn't cause major problems to normal life, doing it yourself can be worthwhile. It can provoke a good strong sense of achievement and give you something to show off to your friends and family. But beware, botch jobs can be long lasting and end up costing a fortune.
An easy way to look at cost is to set a budget before you even think contractor vs DIY. Do your homework and discover the typical price of labour and materials for the work you need doing. If you look thoroughly enough you will be able to pick the right materials, the right contractor, and ensure you're not misled when quoted a price.
If you are planning to do a project yourself, consider what it might cost if it all turns sour, especially if saving money is your primary motivation.


text:
require('angular');

angular.module('riseApp').controller('multiMembersModalController', ["$scope", "multiMembersModal", 'gettextCatalog', function ($scope, multiMembersModal, gettextCatalog) {

    $scope.title = $scope.confirmed ? gettextCatalog.getString('Confirmed by') : gettextCatalog.getString('Multi-Signature Group Members');

    $scope.close = function () {
        if ($scope.destroy) {
            $scope.destroy();
        }
        multiMembersModal.deactivate();
    }

}]);

redpajama_set_name: RedPajamaGithub


text:
La Hermandad de la Verdad Rusa (en ruso: Братство Русской Правды) fue una organización nacionalista contrarrevolucionaria rusa establecida en 1921 por Piotr Krasnov y otros exmiembros del Movimiento Blanco, incluido el príncipe Anatol von Lieven, para derrocar al bolchevismo en la Rusia soviética. El término "Verdad rusa" es la palabra utilizada para describir el código de leyes ruso establecido por el Gran Príncipe de la Rus medieval, Yaroslav I el Sabio. El programa político de la Hermandad era anticomunista con un sentimiento cristiano ortodoxo y monárquico.

El principal método de lucha de la Hermandad fue el establecimiento de una red clandestina de contrarrevolucionarios dentro de la Rusia soviética. La Hermandad envió agentes para cruzar ilegalmente la frontera soviética, al igual que la Unión Militar Rusa y la NTS. Desafortunadamente para la Hermandad, los agentes que trabajaban para la Línea Interna interrumpieron sus actividades, causando considerables bajas.

La organización cesó su actividad después de que su presidente Afinogen Argunov fuera asesinado en 1932 por un agente de la OGPU.

Véase también

 Unión Militar Rusa
 Alianza Nacional de Solidaristas Rusos

Referencias

 M.V. Nazarov, The Mission of the Russian Emigration, Moscow: Rodnik, 1994. ISBN 5-86231-172-6
 Будницкий О. В. Братство Русской Правды — последний литературный проект С. А. Соколова-Кречетова // Новое литературное обозрение. 2003. — N.º 64 (6). — С. 114—143
 Седунов А. В. «Белые террористы» на Северо-Западе Россив в 1920—1930-е годы // Псков : Научно-практический и историко-краеведческий журнал. — 2012. — Т. 36. — С. 157—171.
 Базанов П. Н. Братство русской правды: самая загадочная организация Русского Зарубежья. — Посев. — М., 2013. — 430 с. — ISBN 9785990282087.
 Антропов О. К. Эмигрантская террористическая организация «Братство русской правды» в 1920—1930-х годах // Перекрестки истории. Актуальные проблемы исторической науки. Материалы IX Всероссийской научной конференции. Ответственный редактор и составитель: Д. В. Васильев, А. В. Сызранов. 2013. — С. 21-27.
 Анашкин Д. П. Братство русской правды : По материалам фонда Ларина из архива Свято-Троицкой духовной семинарии в Джорданвилле // Ежегодная Богословская конференция Православного Свято-Тихоновского Гуманитарного Университета: Материалы. XXVI / гл. ред. В. Н. Воробьев, прот. — М. : ПСТГУ, 2016. — 356 с. — С. 121—127

Organizaciones fundadas en 1921
Organizaciones desaparecidas en 1932
Anticomunismo


text:
49ers veteran Richard Sherman comments on Nick Bosa's social media
To fit into the San Francisco 49ers' locker room, all Nick Bosa has to do is make good on the promise of his talent.
That's what veteran cornerback Richard Sherman believes, as Bosa enters the NFL after drama surrounding past social media habits, which he deleted before the draft. Critics say Bosa had been writing posts that have been called called "insensitive" and "liking" Instagram pictures with racist and homophobic captions while he was in high school.
As long as he produces between the white lines, it's all good.
"It's not like something where guys are like, 'Hey man, what about what you said?' No. No. If he can play, he can play. If he can't play, he won't be here," Sherman said, via Chris Biderman of the Sacramento Bee. "But at the end of the day, that's all that matters in football. Is he getting sacks on Sunday? Is he helping our team? Is he being a good teammate? Those are things that matter."
"Now, if he's a bad teammate, that's something we'll address."
Upon being drafted by the 49ers, Bosa apologized and said he'd be more thoughtful about his public remarks in the future.
But Sherman said his future teammates shouldn't have a problem with him.
"One thing about football is that nobody really cares what you say if you can play," Sherman said. "I think, at the end of the day, your beliefs are your beliefs … but when you're in the building and you're a football player and you're a teammate, you handle yourself accordingly. And I think he understands that."
JUST IN: Martavis Bryant plans to file for reinstatement to the NFL soon
Related Topics49ersNick BosaRichard Sherman
Shaquille Harrison re-signs with Bulls on 1-year deal
Top five point guards in the NBA today, ranked


The Canon i-SENSYS MF4370dn print top quality, though not exceptional, was pretty good. Like the majority of various other versions listed below, it created sharp, dark text that was clear also at 2-point kind size.
A collection of narrow parallel lines looked straight or perhaps, with basically no banding. A grayscale image published at default setups appeared too light and a little bit rinsed, though it was smooth in addition to tidy.
It can do printing, scanning, copying, and faxing faster compared to you have actually ever before believed. Canon i-SENSYS MF4370dn serves you its highest qualities to ensure that you will certainly not be dissatisfied by the outcome. The printer also will certainly not trigger you a fantastic disruption in noise because it creates instead good sound while it is doing its job. Obviously, there are lots of people consider that the printer offers them the most effective requirements that can help them ending up the jobs without any challenges.
Feature-wise, the Canon i-Sensys MF4370dn comes with normal options you normally discover in an all-in-one printer as well as besides the familiar offerings you will not discover anything added. It includes network assistance, automated duplexer (printing on both sides without hand-operated treatment) though it sustains just A4 and LTR paper dimension – not a significant offer if you are using it largely for house use. The major paper tray holds 100 sheets, and includes an automatic record feeder ability of 50 sheets.
Provide Canon PIXMA I-SENSYS MF4370DN software file or its driver setup, which you can download from the link below.
Switch ON both Canon PIXMA I-SENSYS MF4370DN and your computer.
Done with the setup, now you can pair Canon PIXMA I-SENSYS MF4370DN USB cable with your computer. The wizard then will proceed the USB cable to ensure that both devices are properly connected. Another step-by-step for the setup will appear.
Finish with the setup, Canon PIXMA I-SENSYS MF4370DN is ready to use.
Download Canon PIXMA I-SENSYS MF4370DN software file, if you don't have on your system. Rest assured, the link is available below.
You need Canon PIXMA I-SENSYS MF4370DN USB cable to proceed the set up.
You finish the installation, Canon PIXMA I-SENSYS MF4370DN will proceed your command smoothly.
Check your printer package to find Canon PIXMA I-SENSYS MF4370DN software CD.
Comply the below mentioned instructions to finish Canon PIXMA I-SENSYS MF4370DN setup with Software CD.
Make sure that your devices PIXMA I-SENSYS MF4370DN, and computer are ON.
Before, it's requested, connecting both devices using Canon PIXMA I-SENSYS MF4370DN are not allowed.
Infix the Software CD of Canon PIXMA I-SENSYS MF4370DN to the computer DVD/CD drive. Follow the step-by-step instructions which are necessary for the setup.
You can connect now the USB Cable of your printer Canon PIXMA I-SENSYS MF4370DN to your computer, when you are instructed to.
It takes some time until PIXMA I-SENSYS MF4370DN USB cable is detected by your computer. Instructions for the installation will appear afterward, you have to execute each step to complete the installation.
At the moment the installation is complete, you can print with your Canon PIXMA I-SENSYS MF4370DN, immediately.
Canonsuppotdriver.com provide a download link for Canon PIXMA I-SENSYS MF4370DN Series publishing directly from Canon website with easy-to-download, to get the download link can be found below.


Where has the DOZA project been? Portlanders seeking design review want to know.
The quality of building design matters for a growing city. And the rules and processes to ensure good, people-oriented design for our most populated, growing and vibrant places are important for residents, workers and visitors alike.
DOZA Tools will create new discretionary design guidelines and objective design standards to implement the Design ('d') overlay zone outside of the Central City. The project will update the thresholds and exemptions for triggering design review and consider several additional concepts. The DOZA Tools Concept Report provides a "40-percent" draft of these concepts for public feedback.
What's in the DOZA Tools Concept Report?
Guide the development of new discretionary design guidelines and objective design standards for areas outside of the Central City.
Update the Design overlay zone map to align with the new purpose statement of the 'd' overlay. This concept would expand the design overlay zone to neighborhood centers without an existing 'd' overlay and remove it from most single-dwelling zoned properties.
Align the level of design attention with the relative impact of a project, while acknowledging that projects in the Central City warrant a higher level of attention than those outside. This concept is consistent with how the Design overlay zone has been applied over time.
Encourage new development to incorporate older buildings or façades that define the area.
Portlanders are invited to learn more about the DOZA Tools Concept Report and give their feedback in the coming weeks. This public outreach period is focused on familiarizing community members with the concepts and getting feedback to inform development of the Discussion Draft this winter.
Community members are invited to an open house on May 9 to learn about the DOZA Tools Concept Report as well as the DOZA Process Discussion Draft. Project staff will be available to answer questions and welcome community feedback.
Wednesday, May 9, 2018, 5 – 7:30 p.m.
Staff will also be meeting with community groups and others to share information about the projects and to answer questions. If your group is interested in a presentation, please contact Kathryn Hartinger at Kathryn.Hartinger@portlandoregon.gov or (503) 823-9714.
Comments on the DOZA Tools Concept Report are appreciated by Friday, June 1, 2018, but welcome through the summer. Send comments to Lora Lillard, DOZA Tools Project Manager.
Your comments on the DOZA Tools Concept Report will be considered as we develop a DOZA Tools Discussion Draft, scheduled for release in Winter 2019.


An easy to make dinner with wine and fresh crusty bread. A completely perfect meal.
Cover bottom of saucepan with olive oil. On medium heat, add eggplant and onions to oil and cook until eggplant is dark brown, stirring occasionally.
When the eggplant is soft add one cup of water. Stir, scraping the bottom of the pan.
Add pasta sauce and simmer for 5 minutes. Pour over pasta and top with lots of Parmesan cheese.


The Progressive Resource Center will be holding a Valentine's Day Dinner on Saturday, February 13, at the Progressive Resource Center, located at 80 Junior High Drive in Baxley.
Dinner will be served at 7:00 p.m. with a menu featuring tossed salad, ribeye steak or grilled chicken, steamed carrots, green beans, mashed potatoes/gravy, desserts, tea, lemonade and water.
Join the PRC for a night of fun and entertainment.
Please call Ms. Almaree Miller (278-4928) or Mrs. Tommie Nails (367- 8814) for tickets or information.
Take out will be from 6:00-8:00 p.m., dine-in is for adults only.


Wasn't it great visiting with Barney Sarver of the Highland Lakes Fellowship of Christian Athletes? Don't forget to mark your calendars for the Fields of Faith event 7 p.m. Oct. 9 at Mustang Stadium, 2101 Mustang Drive in Marble Falls.
The group's power lunch is 11:30 a.m.-1 p.m. at First United Methodist Church, 1101 Bluebonnet Drive in Marble Falls. The food will be provided by Peete Mesquite BBQ. Special guest speaker is Cody Carlson, a former Houston Oiler and Baylor Bear. Read more about the lunch in The Picayune, free on newsstands Wednesday, or at DailyTrib.com.
Give Barney a call at (956) 821-8757 to save yourself a spot!


Choose one of these Blackfoot Florists and have a beautiful, hand arranged flower bouquet delivered today. Same Day Flower Delivery available from most shops until 2:00 P.M. in the recipients time zone.
Local Blackfoot, ID Flower Delivery from the talented and reliable florists listed below.
Not looking for Blackfoot florists? Try flower shops in Pocatello.


text:
New Articles143
NFL World Reacts To The 49ers Quarterback Situation
NFL World Reacts To The Arrowhead Stadium Announcement
NFL World Reacts To The Brock Purdy Injury Announcement
Joel Klatt Picks Side In Joe Burrow, Ohio State Debate
Joel Klatt Reveals His Pick In Alabama vs. Oklahoma Debate
Breaking: Injury Diagnosis Revealed For Brock Purdy Monday
ESPN Is Making Big Changes To 2 Of Its Premier Shows
Major changes are coming to two of ESPN's premier shows. One's location is changing and the other's time slot is increasing.
The Big Lead's Ryan Glasspiegel reports that changes are coming to ESPN's two NBA shows - NBA Countdown and The Jump. Here are the details.
ESPN's NBA pregame show, Countdown, has been filmed in Los Angeles. That is changing.
According to the report, the pregame show will now be filmed in New York. This probably comes as a result of ESPN's new studio being built in Downtown Manhattan. Michelle Beadle, Countdown's host, is moving from L.A. to NYC to co-host a new morning show, Get Up, with Mike Greenberg.
"Interestingly, while Countdown will be taped in New York, a bulk of the production will still occur in Los Angeles. (Also, a bulk of Get Up'sproduction will be done out of Bristol)," The Big Lead reports. ESPN's daily NBA show, The Jump, will be getting more airtime. The 30-minute show will now be an hour. "The Jump, hosted by Rachel Nichols, will be expanding to an hour every weekday, from 3-4 pm ET, beginning March 12th," The Big Lead reports. The Jump is one of ESPN's best, most informative shows. It's hosted by Nichols and has a rotating cast of insightful NBA people, from former star players to reporters to analysts.
You can view The Big Lead's full report here.


text:
El refugio Joan Ventosa i Calvell es un refugio de montaña de los Pirineos, a 2220 m de altitud, que se encuentra junto al lago Negro, en el valle de Bohí, en la comarca de la Alta Ribagorza (Lérida, España).

El refugio se encuentra en la ruta Carros de Foc, una travesía de 55 km que recorre todos los refugios que se encuentran dentro del Parque nacional de Aiguas Tortas y Lago de San Mauricio. Por el norte se accede desde el refugio de la Restanca, y por el sur desde el refugio del Estany Llong, después de una larga etapa que atraviesa el collado de Contraix, el más alto de la ruta.

Acceso

La forma más fácil de alcanzar el refugio es desde Bohí y Caldas de Bohí, por donde se puede llegar en un vehículo hasta el embalse de Cavallers, a 1780 m. Desde allí, en un par de horas, siguiendo las marcas amarillas, se asciende hasta el refugio siguiendo el río del Lago Negro y el barranco de los Llastres.

Características
El refugio se construyó en 1955. Se amplió y renovó en 1979. Actualmente posee 70 plazas guardadas y 8 libres fuera de temporada. Tiene agua fría en WC y duchas, luz eléctrica, estufas, literas, colchones y mantas. Material de socorro, desayunos, comidas y cenas, servicio de guías. Es necesario llevar saco de dormir. La luz eléctrica es generada con energía solar. La parte no guardada tiene mantas y estufa de leña.

Es propiedad del Centro Excursionista de Cataluña.

Teléfono: 973 297 090

Entorno
El refugio se encuentra en una zona granítica llena de lagos glaciares: Negro, Travessani, Clot, la media docena de los Colieto, la Roca, los Tumeneia (de Dalt y de Baix), Monges, Mangades y Cloto.

Al nordeste del refugio se encuentran las Agujas de Travessani (2585 m). Al sur del refugio se encuentran los picos de Comalespada (2830 m) y la Punta Alta de Comalesbienes (3014 m).

Referencias

Enlaces externos

 Página web del refugio.
 http://www.carrosdefoc.com/refugios/
 http://www.lacentralderefugis.com/index.php?option=com_wrapper&Itemid=213

 http://www.madteam.net/refugios/ventosaicalvell2220m/
 https://www.youtube.com/watch?v=8knoMJwegcA (vídeo del acceso al refugio)

Refugios de montaña de Cataluña
Refugios de montaña en los Pirineos de España
Deporte en la provincia de Lérida
Arquitectura de España de 1955
Instalaciones deportivas de Cataluña del siglo XX
Instalaciones deportivas de España de los años 1950


WESTFIELD, Mass. - Despite a three-win effort from senior Katie Tyler, the Mount Holyoke College swimming & diving team was unable to get past Westfield State University, falling to the Owls by a 163-125 margin on Saturday afternoon.
Tyler got her first victory in the 100-yard butterfly, touching the wall with a time of 1:04.88. She went on to grab the win in the 50-yard fly with a time of 28.52, following that effort with her third victory of the day in the 100-yard individual medley. That win saw her post a time of 1:07.21.
Also having a solid effort on the day was first year diver Samantha Nemivant, who swept the wins in the diving events. She recorded a score of 250.60 points in the 1-meter, before going on to win the 3-meter with a mark of 258.65 points.
Senior captain Anne Kuenning notched a win in the 100-yard backstroke, touching with a time of 1:04.46. She then finished second in the 50-yard back with a time of 31.36. Sophomore Kate Flaherty was runner-up in the 50-yard breaststroke with a time of 35.40, while junior Amy Lim was second in the 100-yard breast with a mark of 1:23.08.
In the 200-yard freestyle relay, the team of Flaherty, Lim, junior Topaz Mukulu and Kuenning were runners-up with a time of 1:49.82, while in the opening 200-yard medley relay, the foursome of Kuenning, Flaherty, Tyler and senior captain Emily Craig also placed second with a time of 1:59.60.
Mount Holyoke returns to action next weekend when it travels to Wellesley College for a 1pm dual meet against the Blue. Action begins at 1pm.


text:
Q: Draw Square on exist bitmap image I have a bitmap image and i want to draw a Square  over this image for special position , i researched but i could not found any solution , all solutions are for create Square on empty view , please advise a i am beginner
public class DrawView extends View
{
    Paint paint = new Paint();

    public DrawView(Context context)
    {
        super(context);
    }

    @Override
    public void onDraw(Canvas canvas)
    {

        Paint myPaint = new Paint();
        myPaint.setColor(Color.WHITE);
        myPaint.setStyle(Paint.Style.STROKE);
        myPaint.setStrokeWidth(2);
        canvas.drawRect(10, 10, 100, 100, myPaint);

    }

}

should i convert my bit map image to convas?how?

A: Try this, It does what you want and some more:
import android.content.Context;
import android.graphics.Canvas;
import android.graphics.Color;
import android.graphics.Paint;
import android.view.View;

public class DrawView extends View {
    Paint paint = new Paint();

    public DrawView(Context context) {
        super(context);
    }

    @Override
    public void onDraw(Canvas canvas) {
        paint.setColor(Color.BLACK);
        paint.setStrokeWidth(3);
        canvas.drawRect(30, 30, 80, 80, paint);
        paint.setStrokeWidth(0);
        paint.setColor(Color.CYAN);
        canvas.drawRect(33, 60, 77, 77, paint );
        paint.setColor(Color.YELLOW);
        canvas.drawRect(33, 33, 77, 60, paint );

    }

}

To draw it:
    import android.app.Activity;
    import android.graphics.Color;
    import android.os.Bundle;
public class StartDraw extends Activity {
    DrawView drawView;

    @Override
    public void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);

        drawView = new DrawView(this);
        drawView.setBackgroundColor(Color.WHITE);
        setContentView(drawView);

    }
}

Source: Android canvas draw rectangle

redpajama_set_name: RedPajamaStackExchange


Image Policy: Images may be borrowed with permission. I simply ask that you notify me of your intention to use any of these images and to acknowledge the source of the image in your use.
The following are hybrids that I have registered.
We do ship to the United States. In addition to shipping charges a phytosanitary certificate is required at at cost of $20. Please check the Price List for current prices. Contact me if you have any questions.
Click thumbnail for larger image. Click name for info.
This page was last updated on 2019/03/05.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;
using Sandbox.Common;
using Sandbox.ModAPI.Ingame;
using Sandbox.ModAPI.Interfaces;
using VRage.Components;
using VRage.ModAPI;
using VRage.ObjectBuilders;
using VRage.Utils;
using VRageMath;
using SpaceEngineersMocks.Supertypes;

namespace SpaceEngineersMocks.Blocks
{
    /// <summary>
    /// TODO
    /// </summary>
    public class MockLargeMissileTurret : MockLargeConveyorTurretBase, IMyLargeMissileTurret
    {

        //  Interface Implementation
        // -----------------------------------------
    }
}


When I upload my flash onto the web with the .swf file, when I later goto the URL all I see is a black page, and no animation, what am I doing wrong? Do I need to upload more to my remote site or ...????
Did you use the publish feature in Flash to export the .swf and html file for it?
I dont know why this happens but on the server i use, i must have the main flash (.swf) file in the same directory as the html file. Weird i know. But all submovies that may be loaded into a main movie can reside any where on your server and be loaded fine.
Next question, may sound stupid but are you using Netscape as your browser? If so, have to embeded the flash in to a Table?
If you have this can some times cause problems and just make the black box appear. Try removing the table and just embeding the flash normally.
Whats the URL and I can take a look for you.
: When I upload my flash onto the web with the .swf file, when I later goto the URL all I see is a black page, and no animation, what am I doing wrong? Do I need to upload more to my remote site or ...????
also some webservers don't accept .swf files at all. or some webservers have a script stopping them. don't use homestead, they change your uploads.


Do you think Perry and Judy will ever be friends?
Brender often drank chocolate milk when he was a kid.
I wish Brodie understood me.
Can Lisa really be as rich as people think he is?
Kenneth died of a broken heart.
We really shouldn't have carpooled with Krzysztof.
Walt and Shari want to learn French.
I know Huey has done that.
Gypsy is taller than any of his friends.
Rick was lying on the couch, reading a book.
I think I know why Ssi wasn't at school yesterday.
Pia looked through the menu.
Emma knows how to help us.
Laurence gave Mann moral support.
Mitch stopped taking his medicine.
"I sat down next to Pierre." "I don't believe you."
Put Hui on a bus.
Blake glanced at the rear-view mirror.
Kimberly has been living out of a suitcase for the past two months.
Mahesh suggested that we take a short rest.
Spike flipped on the lights.
Jussi is getting really desperate.
Case held Herb's hand and gave her tissues to wipe her tears.
Tammy had nothing to say about it.
Lars says that he wants to come with us.


text:
//======================================================================================
// Copyright 5AM Solutions Inc, Yale University
//
// Distributed under the OSI-approved BSD 3-Clause License.
// See http://ncip.github.com/caarray/LICENSE.txt for details.
//======================================================================================
package gov.nih.nci.caarray.plugins.affymetrix;

import gov.nih.nci.caarray.domain.data.DataType;
import gov.nih.nci.caarray.domain.data.QuantitationTypeDescriptor;

/**
 * Signal type information for Affymetrix CHP files containing AxiomGT results.
 * @author John Scott
 */
enum AffymetrixSnpAxiomGTChpQuantitationType implements QuantitationTypeDescriptor {
    /**
     * CHPDetection.
     */
    CHP_PROBE_SET_NAME("CHPProbeSetName", DataType.STRING),

    /**
     * CHPCall.
     */
    CHP_CALL("CHPCall", DataType.STRING),

    /**
     * CHPConfidence.
     */
    CHP_CONFIDENCE("CHPConfidence", DataType.FLOAT),

    /**
     * CHPForcedCall.
     */
    CHP_FORCED_CALL("CHPForcedCall", DataType.STRING),

    /**
     * CHPStrength.
     */
    CHP_STRENGTH("CHPStrength", DataType.FLOAT),

    /**
     * CHPLogRatio.
     */
    CHP_LOG_RATIO("CHPLogRatio", DataType.FLOAT);

    private final String name;
    private final DataType type;

    AffymetrixSnpAxiomGTChpQuantitationType(final String name, final DataType type) {
        this.name = name;
        this.type = type;
    }

    /**
     * {@inheritDoc}
     */
    public DataType getDataType() {
        return type;
    }

    /**
     * {@inheritDoc}
     */
    public String getName() {
        return name;
    }
}


text:
from __future__ import division, absolute_import, print_function, unicode_literals

import os
import json
from io import open

PLATFORM = ""  # 运行于 GAE, SAE, BAE 等平台?

DATASTORE_URI = "mongodb://localhost:27017/"
DATASTORE_NAME = "oucfeed"

EXPORT_COUNT_DEFAULT = 10
EXPORT_COUNT_MIN = 1
EXPORT_COUNT_MAX = 50

# noinspection PyUnresolvedReferences, PyPackageRequirements
def detect_platform():
    global PLATFORM
    if not PLATFORM:
        try:
            import google.appengine
            PLATFORM = "GAE"
        except ImportError:
            try:
                import bae
                PLATFORM = "BAE"
            except ImportError:
                pass
detect_platform()

def load(config_path):
    if os.path.exists(config_path):
        with open(config_path, encoding='utf-8') as f:
            config = json.load(f)
        global_ = globals()
        for k in config:
            global_[k] = config[k]
load("config.json")
load("config.{}.json".format(PLATFORM))


Assistant Branch Manager Resume Objective Lovely Sample Cover Letter For Assistant Branch Manager Position Valid Jd Of Assistant Branch Manager Resume Objective Assistant Branch Manager Cover Letter is just one of the many collections of pictures or photos that are on this website. you will get a lot of information about in here. We not only provide information about only, you will get a lot more references about cover letter. So , don't forget to keep visit Cuorissa.org to get the latest information about cover letter, resune, template and more. Assistant Branch Manager Resume Objective Lovely Sample Cover Letter For Assistant Branch Manager Position Valid Jd Of Assistant Branch Manager Resume Objective Assistant Branch Manager Cover Letter was posted in November 17, 2018 at 12:59 pm. Assistant Branch Manager Resume Objective Lovely Sample Cover Letter For Assistant Branch Manager Position Valid Jd Of Assistant Branch Manager Resume Objective Assistant Branch Manager Cover Letter has viewed by 206 users. Click it and download the Assistant Branch Manager Resume Objective Lovely Sample Cover Letter For Assistant Branch Manager Position Valid Jd Of Assistant Branch Manager Resume Objective Assistant Branch Manager Cover Letter.


text:
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What are the complications of Down syndrome
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Down syndrome is one of the genetic diseases that is attributed to the presence of a disorder in cell division, which causes an increase in the copy of chromosome number 21, and this makes the total number of chromosomes in a person with this syndrome 47 chromosomes instead of 46, and this condition affects in various aspects Of a person's life, including physical features, mental abilities, and the injured person's health status as well.
Down syndrome complications:
The incidence of Down syndrome leads to many complications, which appear more clearly as the patient gets older, and the following is a statement for each of them:
Congenital heart defects:
As the percentage of children with Down syndrome who are born with congenital heart defects is about 50%, and these defects may be life-threatening and in some cases it may be necessary to undergo surgery in the early stages of life, and the septal defect also known as heart holes is the most common. The condition is noticed that there is a hole in one of the walls separating the four heart chambers, and therefore when a child is diagnosed with Down syndrome, the necessary heart examinations are performed to determine the nature of the problems he suffers from in order to take the appropriate action as soon as possible.
Digestive problems:
As many people with Down syndrome suffer from various digestive and intestinal problems of their variety and severity, and these problems include disturbances in the intestine, bronchi, esophagus, and anus, and the patient may suffer from constipation, diarrhea, indigestion, small intestine obstruction, and disease Wheat allergy, anal atresia, and reflux.
Hearing problems:
Where people with Down syndrome suffer from hearing problems, whether it is permanent or temporary, and this is due to the accumulation of fluid in the middle ear, and as a result of these problems, the patient must see an otolaryngologist.
Thyroid problems:
As one in 10 people with Down syndrome suffers from thyroid problems, and this affects the body's ability to use energy and metabolism as well, and people with Down syndrome often suffer from hypothyroidism, and a set of signs and symptoms indicate infection. In this case, including weight gain, lack of energy, and slow reactions of the body and mind, as for the diagnosis, it is made after performing blood tests and this condition can be controlled by taking the medications prescribed by the doctor, according to his instructions.
Immune disorders:
Whereas, people with Down syndrome are prone to frequent disorders and infections and to the presence of an imbalance in their immune system, which makes them vulnerable to other diseases, including cancers, and this condition can be controlled by giving the child routine childhood vaccinations, in addition to vaccinations. Others that reduce the risk of infection, such as the annual influenza vaccine, and in cases of bacterial infection, it is required to take antibiotics to treat the condition.
Dementia:
Patients with Down syndrome are more likely to develop dementia at an earlier age compared to other people. Signs and symptoms of this disease may begin when they reach the age of forty, and symptoms of dementia appear in the form of problems with understanding and memory, and confusion, and the risk of these patients developing Alzheimer's disease increases.
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Are you looking to improve your smile? Well, consider obtaining dental veneers at our Melbourne clinic to help improve the shape and look of your teeth. Becoming increasingly popular, porcelain veneers are very fine shells of porcelain bonded to the front of your teeth to cover chips, stains, close spaces between teeth and can even be used as an alternative to orthodontics for a more captivating and natural looking smile. These porcelain shells are so thin only a minimal amount of your natural tooth needs to be removed to blend seamlessly with your natural surrounding teeth.
At your consultation appointment, cosmetic dentist Dr Birdseye will develop with you a meticulous treatment plan to ensure your veneers appear completely natural.
The first step to receiving your Melbourne porcelain veneers involves your teeth being lightly buffed so when the shell is placed over your tooth, it is the same thickness as those not receiving the treatment. Usually, between 0.5 – 0.7mm of enamel is removed. As your comfort is paramount, a local anaesthetic can be administered if requested, however, for the majority of our patients it is not required.
Once prepared, a mould of your teeth is made, which is then sent to our preferred dental laboratory and used as a template for the fabrication of your veneers. They will then usually take around two weeks to complete. Often temporary veneers can be placed so you can retain your smile and appearance.
Are you ready for a complete smile makeover?
Once we have received your dental veneers at our Melbourne clinic, your appointment to have them placed will take between one to two hours. First, the veneers are checked for fit and shade, at this point, the colour can still be adjusted to blend identically with your natural tooth shade. If you are planning teeth whitening, as many of our patients do when they're aiming for a complete smile makeover, this should be completed prior to receiving your new veneers, as whitening cannot change the colour of the porcelain only your natural tooth enamel.
To apply the porcelain shells, your tooth is cleansed with specially developed chemicals, which will make the surface of your tooth a little rough and ensure a strong and lasting bond. A visible light beam initiates the release of a catalyst to harden the formulated dental cement, securing your new veneers permanently to your natural tooth.
You may find it takes you a couple of weeks to adjust to the feel of your teeth, as they have changed slightly in size and contour.
A thorough and regular maintenance routine of brushing twice a day with a soft bristled toothbrush and flossing once a day will keep your porcelain veneers, natural teeth and gums in perfect condition. It is important to schedule regular appointment check-ups for cleaning and oral health examinations so any problems can be detected in their developmental stage and prevented from becoming a concern.
Veneers can last from seven to twenty years or more, with the right amount of dental care and maintenance. While the veneer itself is inert and non-living, the tooth or teeth to which they are attached and the surrounding gum tissues are living and may change.
How much do veneers cost Melbourne?
Each individual patient offers a different dental situation therefore, the cost for veneers at Birdseye Dental varies across the board. The cost and further details will of course be discussed with you during your consultation with Helen or Blake Birdseye, our principal dentists at Birdseye Dental.
Ask Dr Birdseye - What are my treatment options with veneers and crowns?
Contact us on 03 9654 5836 with any questions about our porcelain veneers available in Melbourne.


I am a fun loving, hard working, easy going, down to earth lady that enjoys life to the fullest.. I am a diverse and passionate person. I Enjoy a constructive conversation, hanging out with friends and family, and a good laugh once in a while. Do you want to hear a joke?I enjoy romance like taking long walks on the beach, cuddling and romantic candle lit dinners. I love to be around humorous people, as I can be a goofball once in a while. and I'm currently looking for someone who loves to laugh and is not shy about making me smile. I'm probably the most loyal and caring person you will meet. Most of all, I am a mother of two children.


About Grover & Friends: Featuring premium products from Grover and some of our friends. Each month we curate our box around a different theme and work with our factories and friends to custom produce your products. Our goal is to bring men around the world a superior customer experience and fantastic new styles.
This is a monthly subscription box for men.
Grover & Friends sent me a box to try for the purpose of this review. As always, our opinions are genuine and our own.
What we received: This months theme was "The Rain Box" so it had a nice shirt and rain jacket inside.
Grover Ringer Crew Neck Tee: This shirt came in a dark blue. It was insanely soft and comfy. I told my husband he better watch out because I may just steal it for a new pj shirt!
K'Way Claude Klassic Rain Jacket: This rain jacket is super light and not bulky like most rain jackets you see out there. It seems like its a very quality made jacket as well. My husband liked the rain jacket the most.
What We Thought: When I first opened the box it was mixed for me. I liked that there was a shirt and jacket but part of me was expecting it to have more to it than just the two items. Though then I thought well there are two clothing pieces in there so its not about how many items but the quality and value of the items so overall I was still happy with it as well as my husband.
Value: This box is $49.99 a month though you can pay bi-annually or annually to receive a slight discount per box. Being that you are getting clothing items this box is of decent value in my opinion but its a tad bit pricey for my budget for 2 items each month. If you can fit it in your budget I would say its worth checking out for your guy though as they do send great quality items.
They have also provided a promotion code just for our viewers!
You can also check them out on their social media sites as well.


text:
Polanski's Chinatown: A dream analysis
Jim Emerson September 29, 2011
WARNING: Big-time spoilers in the above video.
From the introduction to my fully explicated video, "Chinatown: Frames and Lenses," at Press Play, Chapter 4 in a week-long series: LIFE'S WORK: THE FILMS OF ROMAN POLANSKI:
Roman Polanski's "Chinatown" is a Panavision color film noir--a ghost story, really--about flawed vision and the inescapable resurgence of the past, made in 1974 and set in 1937. Private eye Jake Gittes (Jack Nicholson) thinks he knows what's going on, but as Noah Cross (John Huston) tells him, "Believe me, you don't." We see what Jake sees, and it's invariably filtered or blocked--viewed from a distance through binoculars, or from outside through a door or window that obscures a more complete perspective. Photographs--snippets of time recorded on film, one of the tools of the detective trade--are potentially misleading because they don't--can't--capture what's going on outside of the frame, beyond the moment.
This video montage is a hymn of praise to a film that had a profound effect on me when I first saw it as a 16-year-old in 1974, and that I've lived with, haunted, ever since. It's also an unabashed love poem to the desperate, damaged and determined Mrs. Mulwray (Faye Dunaway).
Like "close-up," which I did in 2007, it's a free-associative critical essay/dream sequence, based on themes and images (and sound and music) from the movie. Although, like a lot of creative pursuits, the process of assembling it (from pieces of film that were already floating around in my head) was largely unconscious, I now (at least in retrospect) think I understand why each fragment is where it is.
So, I thought I'd turn around and look back at "Chinatown" through the lens (or frame or door or window, if you will) of my video essay, using it as a way of translating the film's images into critical prose. Because, in "Chinatown," every image is loaded with meanings, associations, resonances. If you're familiar with the film, you'll immediately see that this reflection on "Chinatown" isn't structured chronologically. Scenes, themes, moments and images keep circling back in fragments... not unlike they do in the film, but in a more condensed and less linear form...
Below: What it all looked like in iMovie HD when I finished it.