State geologists released the first seismic hazard maps for parts of Orange County on Tuesday under a new program requiring geologic investigations and mitigation measures for new building projects in zones subject to ground liquefaction in big quakes. Once the maps become official in about six months, homeowners in a seismically hazardous zone who sell their properties will be required to disclose the potential danger to buyers.
Two small earthquakes separated by about 40 miles and four minutes hit north Orange County and San Bernardino County on Friday morning. A magnitude 3.5 quake struck at 4:50 a.m. about five miles southeast of Yorba Linda. It was followed by a 2.9 magnitude temblor at 4:54 a.m. centered four miles east of Redlands, which is east of San Bernardino. Police near the quake epicenters said there were no reports of damage. Sgt.
Nine months after a 100-foot section of the perimeter wall around the community collapsed during an earthquake, public agencies are still debating who should be responsible for its repair and maintenance. In the latest round of the long-running legal tussle, the Rossmoor Community Services District, through its legal counsel, William W. Wynder, told the Orange County Board of Supervisors that the district is not responsible for the upkeep of the wall. Wynder said in a Feb.
A minor earthquake rattled Orange County on Wednesday, authorities said. The 2:21 p.m. quake, which was centered just north of Upper Newport Bay, registered a magnitude of 2.5, said Hugo Rico, a Caltech seismologist. A slight aftershock occurred in the same area at 2:44 p.m., authorities said.
EARTHQUAKE / THE LONG ROAD BACK : Temblor Is Reminder to O.C. of Its Own Fault : Seismology: It underlines Newport-Inglewood fissure's potency.
According to Mark Johnson's personal seismic meter--a stairwell chandelier that smashed against a window in his home during Monday's violent earthquake--the 4:31 a.m. temblor was the strongest he has experienced in four years in Orange County.
O.C. Is Rattled but Left Relatively Unscathed : Impact: Incidents include power outages, burst waterlines and evacuation of 300 guests at Disneyland Hotel. A visitor dies of heart attack.
Like a prizefighter rolling with the punches, Orange County escaped Sunday's two powerful earthquakes relatively unscathed, but the temblors still caused widespread power outages, burst waterlines and prompted the brief evacuation of 300 guests at Disneyland Hotel.
Newport-Inglewood Fault Among Most Hazardous in U.S.
The Newport-Inglewood fault isn't nearly as famous as the mighty San Andreas, but it poses such a severe threat to the Southern California coast that even a mild quake sends shivers up the spines of emergency officials. The fault cuts a subterranean path from Beverly Hills to Newport Beach--directly underneath a densely populated coastline that sits precariously on sandy soils vulnerable to motion. South of Newport Beach the fault veers offshore.
No Gnarly Quake Can Trip 'em Up : Concert: Musicians and fans alike hang tough through twin temblors to get to Surf City's First Annual Battle of the Surf Bands in Huntington Beach.
Jim Pash, an original member of the Surfaris, thinks he may have caught the ultimate wave Sunday morning--"a tectonic plate on a sea of lava. Now I know what it means to ride the epicenter." Pash sported a nasty facial gash as a result of the rough ride he'd taken at his home, north of the high desert town of Yucca Valley, just six miles from the epicenter of Sunday's 7.4 quake.
A small earthquake centered in Costa Mesa delivered a quick, sharp jolt to part of Orange County on Tuesday morning, strong enough to set off car alarms but not to cause any injuries, damage or even missed class time at a high school next to the epicenter. It was one of three small temblors that shook Southern California on Tuesday. The first and strongest, a magnitude 3.4 that hit at 11:22 a.m. near the Costa Mesa Golf Course and Estancia High School, was felt as far away as Los Angeles.
A mild earthquake centered in southeastern Huntington Beach near Pacific Coast Highway and the Santa Ana River caused a few gasps of surprise but no reported damage when it shook for a few seconds Monday afternoon, authorities said. The 2.9-magnitude quake, felt in parts of the county at 3:06 p.m., was 0.1-mile underground, according to a report from the Caltech Southern California Earthquake Center Data Center. The Orange County Fire Authority did not receive any reports of damage or injuries.
A small earthquake rattled Yorba Linda on Saturday, but no damage or injuries were reported, authorities said. The magnitude-3.1 temblor struck at 1:46 p.m. and was centered about five miles southeast of the city, according to Mandy Johnson, a seismologist with the California Institute of Technology in Pasadena. The shaker was the latest of several aftershocks to last week's 4.0 quake, Johnson said. There was a jolt to the area at 4:20 p.m.
A magnitude 4.0 earthquake jolted Orange County on Monday afternoon, but there were no reports of damage or injuries, seismologists said. The 4:20 p.m. quake was centered 8 miles east-southeast of Yorba Linda, just south of the Riverside Freeway on the Orange County side of the Riverside-Orange county line. It occurred at a depth of 6 miles, scientists said. Shake maps issued by the California Institute of Technology in Pasadena and the U.S.
A magnitude 4.0 earthquake was felt distinctly through most of Orange County Monday afternoon, but there were no reports of damage or injuries, according to Caltech seismologists. The 4:20 p.m. jolt was centered eight miles southeast of Yorba Linda, just south of the Riverside Freeway on the Orange County side of the Riverside-Orange county line. It occurred at a depth of 6 miles. Shake maps issued by Caltech and the U.S.
A minor earthquake jolted South County on Monday night, but there were no reports of damage or injuries. The magnitude 3.6 quake was centered about two miles north-northwest of San Juan Capistrano and hit at 11:33 p.m., Caltech spokeswoman Sue McHugh said. Orange County sheriff's officials said they received hundreds of telephone calls about the temblor. Residents reported feeling one quick, solid jolt, Sheriff's Lt. Colin Murphy said. Susan Hough, seismologist at the U.S.
A magnitude-3.1 aftershock rolled through San Clemente on Thursday, but there were no reports of damage or injuries. The aftershock struck at 8:58 p.m. and was centered 28 miles south-southwest of the city, said seismologist Egill Hauksson of the California Institute of Technology in Pasadena. It was an aftershock to a magnitude-5.4 quake that struck in July 1986 in Oceanside, several miles south on the San Diego County coast.
A magnitude-3.0 earthquake shook the ocean floor south of San Clemente on Thursday, but no one seemed to notice. Caltech seismologist Jim Mori said the 1:35 p.m. temblor, centered 31 miles southwest of San Clemente, was an aftershock of the magnitude-5.3 quake in Oceanside in 1986. A spokeswoman for the Sheriff's Department in San Clemente said they received no calls about the minor aftershock.
A small earthquake centered in Costa Mesa delivered a quick, sharp jolt to part of Orange County on Tuesday morning, strong enough to set off car alarms but not to cause any injuries, damage or even missed class time at a high school next to the epicenter. It was one of three small temblors that shook Southern California on Tuesday. The magnitude 3.4 quake, which hit at 11:22 a.m. near the Costa Mesa Golf Course and Estancia High School, was felt as far away as Los Angeles.
The City Council has approved updating its 8-year-old earthquake plan to improve the way an Emergency Operations Center operates after a major quake. L.E. McKeough, the city's emergency planner, said he would reevaluate the plan and present the modifications at a future council meeting.


Want to expand your reach and serve more patients who are in need of dental attention? How about considering the idea of being a mobile dentist? Offering dental services outside of your dental office is a great way to reach patients who can't come to your clinic. You can set-up a mobile clinic, community service, or out-of-clinic appointments.
Mobile clinic - You can set up a mobile clinic and schedule outside the office services at least once in every one to two months or at your most preferred time-frame.
Out-of-clinic appointments - You can offer out-of-clinic appointments like home visits or office visits. There might be some patients who badly need or want to avail of oral health care services but can't find an opportunity to leave their home or office to visit a dental clinic. Offering out-of-clinic appointments will help you reach them.
Community service - You can as well do community service and offer free or less expensive oral care services to the communities located in remote areas. You can offer it totally free or for a minimum consultation or service cost, just enough to cover your transportation and operation expenses.
Why should you consider being a mobile dentist?
Being a mobile dentist gives you a lot of perks. First, it allows you to tap potential patients who can't come to your office. Second, it gives you a chance to provide dental care to underserved areas. Third, it provides you with the opportunity to expand your patient based while still keeping the overhead costs of your dental clinic operations relatively low.
This entry was posted in Dental industry news | Schultz Dental surgical blogBy Roger Jing On Jun 08, 2018 .


text:
Contact / Venue
Current Projects on Rock Magnetism
1. Effect of shock pressure on magnetic minerals (Mineral magnetism of shocked ferrimagnetic minerals)
Impact cratering has significantly contributed to the formation and reshaping of planetary bodies in our Solar System. This includes the modification of magnetic properties of crustal lithologies present in impact structures and in different parent meteorites. On Earth, magnetite and pyrrhotite is a major magnetic mineral in the lithosphere. Moreover, these magnetic minerals are also present in meteorites, which mostly suffered some degree of shock pressure. However, the effects of shock waves on the intrinsic magnetic properties of magnetite and pyrrhotite, as well as exotic minerals from meteorties like cohenite (Fe3C), remain poorly understood. Especially, a lack of information exists on the correlation between shock-induced magnetic and microstructural changes. This study investigates the effects of shock waves on magnetic and structural behavior of magnetite and pyrrhotite experimentally shocked to pressures of 5, 10, 20 and 30 GPa. These data are compared with observations from impacted rocks of Lockne (Sweden), Chesapeake Bay (USA), Nördlinger Ries (Germany), Elgygytgyn (Russia), Bosumtwi (Ghana) and Lonar (India) impact structures.
2. Thermomagnetic investigations on young pyroclastic deposits from volcanoes in Mexico: emplacement dynamics
Recently active volcanic structures in Germany and Mexico (Mytina Maar, Popocatepetl, Nuevo de Toluca) will be sampled. The sampling strategy is to collect samples over a several meter thick pyroclastic flow and over a lahar deposits at several distances to the summit. Different deposition types will be compared using ore microscopy, microprobe chemical analyses and thermomagnetic curves. The aim of the study is to investigate the depth- and distance-dependent thermomagnetic behavior of pyroclastic deposits in order to contribute to a better understanding of the thermal histories of titanomagnetite-bearing pyroclastic volcanic rocks. In a second step these results will also be applied on older pyroclastic flows of an age of >10.000 to 100.000 years and 1 Ma years in order to understand the secondary overprint of the primary cation distribution, like it has been observed in the Quarternary (0.3 – 0.7 Ma) Mytina maar (Lied, Msc thesis). This study is in cooperation with Luis Alva, UNAM, Mexico.
For Bachelor- and Master theses on magnetic research please contact Agnes.

redpajama_set_name: RedPajamaCommonCrawl


Tabernacle built into the altar of repose. High quality imported Italian tablenacle door and works.
Restored statue by Heritage Restoration and Design Studio.
Photograph of restored historic church. Photograph shows ceiling beams, murals, church furnishings, pews flooring and new lighting.
Church view taken from the restored balcony.
Custom built pulpit, designed to maximize space in small sanctuary configurations with classic design elements.
An additional photograph of this pulpit and altar rail combination.
Church lighting and column facades. These columns utilize HRD's custom marbleizing process and are used to encapuslate structural steel columns that support the above balcony. The custom lighting borrows its design from other interior elements.
Balcony facade used to increase the height of the balcony wall to bring balcony up to local code. Facade contains marble panels that mimic the marbleizing found in other locations around the church.
Marian statue enshrined in new side altar niche.
New Immaculate Conception stained glass window. Designed to be a transom above entrance doors to the church. Designed to match client's concept.
Immaculate Conception mural painted by Heritage's artisans. Replica of Murillo's original painting.
Side altar base with hand hammered metal icon.
Side altar base with hand hammered metal icon. Symbolizing Saint Joseph the Worker.
Light fixtures for this project were designed with power consumption in mind as well as balancing the interior light qualities with the existing stained glass windows.
Close up of simple gothic pendant lamp.
Hand hammered last supper icon located in the sacrificial altar.
Altar base with columns and iconography.
Altar contains secured interior shelf for an altar stone.
Image of altar and new marble floor.
The orginal church had ogee arches above the side altars. Heritage designed around the existing niches to reintroduce this lost element back into the building.
Imported cross and corpus from HRD's European suppliers. Mural of Jerusalem painted by Heritage's artisans. Custom solid wood cross with rayburst.
Altar rail designed and fabricated for this church utilizeing foiled gothic arches and small cornthian capitals.
Another angle of Heritage's gothic church railing system. Dimensions customized to fit the interior space.
Column base with inset marbleized paneling.
New church seating and interior decorating.
Corinthian composite capital and shaft. Derived from the orders of architecture, in this case without normal back plate.
Heritage designed and fabricated a series of ceiling beams to add a level of depth and class to the existing ceiling. The material was designed for the high Texas heat.
Mural closeup of angel with thurible.
File Size: 23mb Download speed my vary based on your internet connection.


The pension system consists of a public part, a general pension (allmän pension) which you earn when you have taxable income, and furthermore you can choose to save through a private pension scheme.
The Swedish general pension is composed of different elements, some of which are linked to your income.
In most workplaces there are agreements between labour market partners so called "collective treaty agreements", which means that the employee earns an income-related pension. In Sweden, this is called a "Public servant pension". When you start working in Sweden, it is a good idea to familiarise yourself with the agreements in this connection at your workplace.
Although you earn both a public pension and an occupational pension, you can choose to supplement them with a private pension. A private pension is an optional scheme that you can draw up through your bank or pension company. Therefore, they are also the ones you should contact for more information on private pension savings.
At Pensionsmyndigheten (the Swedish Pensions Agency) you can get more information about the Swedish pension system. You can also find general information about the Swedish and Danish pension systems from Øresunddirekt informationcenter in Malmø.


The Dakota Lamp Table is made from 100% Indian Mango Wood. The table is certianly an interesting and functional piece. As well as being a lamp table it also houses a drawer at the top of the unit and a shelf at the bottom. Perfect for storing small things like books or a fruit bowl.


Nature surrounds you with this adorable woodland scene fabric. From frolicking deer to sly foxes and playful bunnies your favorite is sure to be among them. Featured in rich Windsor navy and deep orange and printed on a soft 100% cotton its perfect for your special nursery. Perfect for smaller nurseries or for staying at Grandma's, portable mini-cribs are a great space-saving alternative to standard sized cribs. Our mini-crib bedding is designed to fit portable cribs using mattresses measuring approximately 24" x 38".


An Intellyx Brain Candy Brief The centerpiece offering from professional services firm Equidato is SophiaTX,.
How does an ICO work. Stratis allows users to combine various features from other blockchains and to test various variations of blockchain specifications and.
Bestselling Cryptocurrency WordPress Theme with ICO Landing Page and Crypto.Get up to date with the latest news and events relating to SophiaTX.
ICO Pulse - ICO Rating with. which is regularly updated with new projects and up-to-date. of cryptocurrency enthusiasts who were curious to test this new.
Taiwan Medical Hospital Opens Healthcare Blockchain Platform for Up to Date Records. Re-Test Complete,. ICO Hot list is the only unbiased and manually curated list of active, upcoming, and traded Token sales.
ICO and Cryptocurrency WordPress Theme for your. and stay up to date with the.
Energy Web Foundation launches Blockchain and Application Layer Test.
TokenMarket is a platform for responsibly listing tokens and decentralized funding projects,...Dentacoin launches its ICO on 1st of October with over 30K subscribers on the waiting. (in a test phase),.Welcome to ICO Examiner ICO News ICO Reviews. allowing crypto-traders to test trading.
It is evident there will be a booming ICO industry in the. as their Test ICO platform is now available to.The organizations should always invest in new tools, technologies, deploy new applications, test and evolve new ideas.
About SophiaTX. Blockchain AI Underdog Autonio Yields Over 40X Returns for ICO Investors.
All about the Tron ICO and the TRX Token on the Blockchain. ICO Dates.
Stay up to date with everything happening in the ICO world and.
We have been able to commercially test the interest from businesses that might be. follow the SophiaTX ICO.


A women on Thursday filed a PIL (Public Interest Litigation) in the Allahabad High Court, asking for an immediate ban on the Bollywood item songs Munni Badnam Hui (Dabangg) and Sheila Ki Jawani (Tees Maar Khan). Nutan Thakur, the petitioner, charged that the songs are indecent and immoral for public viewing. She requested the court to restrict the release of Tees Maar Khan till the filmmakers chop off the song 'Sheila Ki Jawani' from the film.
She also appealed that the airing of the song ' Munni Badman Hui', from Salman Khan's blockbuster film Dabangg should be stopped immediately and should be deleted from the film asap. The lady in her PIL, which will be heard after the winter vacation, has also pleaded that the regular exhibition of the two songs are creating an ill impact on the society.
The order has been issued to the producers of Tees Maar Khan Twinkle Khanna, Shirish Kunder and Ronnie Screwvala, the director of the film Farah Khan, producers of Dabangg Arbaaz Khan, Malaika Arora Khan and Dhillin Mehta and its director Abhinav Kashyap, Censor Board and the Union of India. These personalities are responsible as the respondents of the PIL.


Eyes wide open. The All-New Jeep® Compass Opening Edition is here in all its remarkable fascination.
An aggressive and sophisticated profile that stands out from the crowd. Jeep® Compass has a confident stance given by its aerodynamic design. The available black roof and all round chrome DLO that wraps dramatically around the rear and sides make the new SUV immediately recognizable. Being noticed has never been so easy if you're on the All-New Jeep® Compass.
Sculptured forms, signature Jeep® design elements, high-quality materials and state-of-the-art technology makes the All-New Jeep® Compass interior the perfect environment to accomodate your routes. Get ready to start your drive, the driver's cockpit, thoughtfully designed, features a 7-inch full-color Instrument Cluster. Keep your hands on the steering wheel and focus your attention on the road ahead while your managing audio, voice and speed with the integrated controls.
A combination of unmatched 4x4 capability with leading, advanced fuel-efficient powertrain options makes the All-New Jeep® Compass as the most capable compact sport-utility SUV. Choose between two gasoline engines or four diesel ones. The legendary Jeep® off-road capability are enriched with a pair of new, advanced available on request full-time 4x4 systems, providing customers what no other compact SUV can.
Real comfort is to be able to always enjoy a safe and secure driving experience. The All-New Jeep® Compass protects the driver and passengers with more than 70 available safety and security features. Seven standard airbags and multiple advanced active and passive safety and security features deliver outstanding protection and help you avoid trouble in the first place.


text:
U.S. News Names the Chevy Silverado 1500 and Colorado Among the Best Trucks for Towing
Both the Chevrolet Silverado 1500 and the Chevrolet Colorado were recently named to the list of the 13 Best Trucks for Towing. Compiled every year by U.S. News and World Report, this list considers the towing capability of every truck on the market, calculating which is best for those who demand top-tier performance when towing and hauling. Given their legacy of quality, it's no surprise the 2020 Silverado and Colorado each earned a spot on the list.
The 2020 Colorado will tow up to 7,700 pounds when equipped with an impressive 2.8-liter turbocharged four-cylinder engine. This is mated to a six-speed automatic transmission, offering the best towing capacity among any midsize truck on the market. Plus, it's remarkably efficient, which saves you money at the pump.
The Silverado has an impressive 13,400-pound towing capacity, which is also best in its class for light-duty full-size trucks – including the Ford F-150 and Ram 1500. The Silverado 1500 has an optional 6.2-liter V8 engine that generates a whopping 420 horsepower and 460 lb-ft of torque. This is paired with a 10-speed automatic transmission, while features such as four-wheel drive, a Max Trailering Package, and twenty-inch wheels also improve performance.
Chevrolet also offers several trailering safety systems on newer model years. The Technology Package comes with up to 15 camera views to make it easier to hitch a trailer and to see around your vehicle as you reverse. There's also Trailer Sway Control, Hill Start Assist, and Auto Grade braking, and even an available app to make trailering easier.
Want to get behind the wheel of a new Chevy truck? Contact us at Fuller Chevrolet GMC Truck in Rockland, Maine for more information.


text:
Q: Changing font on textField Want to make a my font on my textFields bigger so google:d and came up with this:
Font font1 = new Font(Font.SERIF, Font.BOLD, 12);
        textField.setFont(font1);

Java says "The method setFont(javafx.scene.text.Font) in the type TextInputControl is not applicable for the arguments (java.awt.Font)". Were working for others but might not because mine is an integer?
Best regards

A: While I'm not sure about all of your implementation, you'll want to double-check your packages and imports.
Your Font object appears to be from the java.awt package. You need to use the javafx.scene.text.Font object instead.
Use import javafx.scene.text.Font; for your import statement.
You can then set the font with one line:
textField.setFont(Font.font("Serif", FontWeight.BOLD, 12));

redpajama_set_name: RedPajamaStackExchange


Description MAD2L1 Full-Length MS Protein Standard (NP_002349), Labeled with [U- 13C6, 15N4]-L-Arginine and [U- 13C6, 15N2]-L-Lysine, was produced in human 293 cells (HEK293) with fully chemically defined cell culture medium to obtain incorporation efficiency at Creative-Proteomics. MAD2L1 is a component of the mitotic spindle assembly checkpoint that prevents the onset of anaphase until all chromosomes are properly aligned at the metaphase plate. MAD2L1 is related to the MAD2L2 gene located on chromosome 1. A MAD2 pseudogene has been mapped to chromosome 14.


A focus visit takes place shortly before the end of the three-year certification cycle.
The focus visit is an important opportunity to look at your plans, where your organisation is heading, and how your management systems may need to change.
We can discuss your concerns, and tailor the work we do over the coming years to address these. If you're moving into new areas of business, or new markets, we can help you by bringing in the right expertise, with in-depth experience, to ask the searching questions of your management systems that will help you avoid costly mistakes.
In this way, our service can help you minimise the risk involved in change, and this can in turn make your organisation more agile and adaptable.
The visit helps us review what has happened and prepare for the coming three-year cycle. It's also a chance to stand back from the regular themed visits, and take a more overall view of the organisation and its systems. We might want to discuss any repeat issues that have affected your compliance, and how they are going to be tackled so they are resolved in the long-term.
To help you understand how the health & safety and environment management systems are established, implemented, maintained and continually improved in order to achieve its intended outcomes.
To understand what's the likely impact of ISO 22000 standard and explore the changes in ISO 22000:2018.
Join us to understand the BRC Food Safety Issue 8.
Directed Australia is a leading automotive and consumer electronics solutions supplier and developer.
Sustainability underpins Weir Minerals Australia's strategic business priorities and is intrinsic to their values. Read about how our verification solution helped Weir Minerals gain accreditation against the NSW Government WHS assessment management systems 5th edition requirements with ease.
Grab is the first ride-hailing organisation to be successfully certified to the International Quality Management System Standard ISO 9001:2015, certified by LRQA.


Stephanie + Nathan's Hilton Head wedding was a destination affair at The Shorehouse at The Omni Hilton Head Oceanfront Resort. The West Virginia based couple enlisted the guidance of Spencer Special Events to create the perfect Lowcountry evening. Bride Stephanie wore a sweet Maggie Sottero gown from The Exquisite Bride in Murrysville, Pennsylvania and carried a beautiful all white bouquet. The couple recited their vows while overlooking the ocean in front of their closest family and friends. For their reception, A Floral Affair designed varying centerpieces ranging from white lanterns to tall arrangements in shades of purple, green and pink that popped off the white table linens and purple napkins. Guests enjoyed an evening of Lowcountry cuisine, a charming cake from Minette Rushing of Custom Cakes of Savannah and DJ Alan who provided the perfect atmosphere fora night on the dance floor! To end the night, friends and family grabbed West Virignia University clappers as the newlyweds departed. Thanks to Hopkins Studios for sharing their Omni Hilton Head Oceanfront Resort Wedding!


The purpose of this concerto is to add substantial literature to the limited repertoire written for euphonium. Each of the three movements explores a different medium of music. The first movement is strictly developmental material based on a five-note motive taken from the end of an ascending melodic minor scale. The second movement uses an unusual five-voice passacaglia. The last movement is a cadenza shared by both the solo euphonium and the string orchestra with both parts having equal importance. Characteristic of all three movements is the blending of the voice ranges and the use of complex rhythms.
Sudduth, Steven Dale, "Concerto for Euphonium and String Orchestra" (1989). Master's Theses. 1169.


text:
Sprinklers could have saved Portsmouth building destroyed in fire, chief says
Cause of fire still under investigation
Kristen Carosa
WEBVTT KRISTEN CAROSA HAS MORE ABOUTPOSSIBLE CHANGES TO THE BUILDINGCODE.REPORTER: THE PORTSMOUTH FIRECHIEF TALKED ABOUT WHAT HAPPENEDTHE MORNING OF APRIL 10 FROM THESTART OF THE FIRE UNTIL THEFLAMES WERE COMPLETELY OUT,HIGHLIGHTING THE FACT THAT NOONE DIED IN SUCH A DANGEROUSSITUATION.CHIEF ACHILLES TOLD CITYCOUNCILORS THAT WHEN CREWEDARRIVE THEY COULD SEE A FIREBETWEEN THE STATE STREET SALOONAND LOUIS'S.THEY DON'T KNOW WHAT CAUSED THATFIRE.THEY MADE SURE EVERYONE WAS OUTOF THE BUILDING BEFORE THE STATESTREET SOON AND APARTMENTS ABOVECOLLAPSED.THE BUILDING DID NOT HAVE ASPRINKLER SYSTEM WHICH COULDHAVE SAVED THE BUILDING,ALTHOUGH THAT IS NOT IT AREQUIREMENT FOR CERTAINBUILDINGS.>> WE'RE NOT SAYING THEY DIDN'TMEET THE CODE.AND I THINK THAT'S SOMETHINGTHAT WE'LL BE REFLECTING ON,BECAUSE NOT EVERY BUILDING INTHE CITY OF PORTSMOUTH DOWNTOWNIS SPRINKLED.SO I THINK WE NEED TO LOOK ATTHAT.REPORTER: THE CHIEF SAYS HE'LLBE TALKING TO THE DEPUTY CITYMANAGER AND CITY INSPECTORS TOBRAIN STORM ON HOW TO BEST MOVEFORWARD.HE SAYS HE WILL HAVERECOMMENDATIONS TO PRESENT TO
Portsmouth's fire chief said Monday that a sprinkler system could have saved a building destroyed in a fire earlier this month. The building that housed the State Street Saloon and several apartments collapsed in a fire April 10. Fire Chief Steven Achilles told city councilors Monday night that investigators still don't know what caused the fire. Crews were able to get everyone to safety before the building collapsed. Achilles said the building didn't have a sprinkler system, but it wasn't required to. "We are not saying they did not meet the code, and that is something we will be reflecting on, because not every building in the city of Portsmouth is sprinkled, so I think we need to look at that," Achilles said. Achilles said he will talk to the deputy city manager and the city's inspectors about how to best move forward. He said he will make recommendations to the City Council in the near future.
PORTSMOUTH, N.H. —
Portsmouth's fire chief said Monday that a sprinkler system could have saved a building destroyed in a fire earlier this month.
The building that housed the State Street Saloon and several apartments collapsed in a fire April 10. Fire Chief Steven Achilles told city councilors Monday night that investigators still don't know what caused the fire.
Crews were able to get everyone to safety before the building collapsed. Achilles said the building didn't have a sprinkler system, but it wasn't required to.
"We are not saying they did not meet the code, and that is something we will be reflecting on, because not every building in the city of Portsmouth is sprinkled, so I think we need to look at that," Achilles said.
Achilles said he will talk to the deputy city manager and the city's inspectors about how to best move forward. He said he will make recommendations to the City Council in the near future.


This article describes how to create high-performing subject lines that you can apply to your own cold email campaigns.
When a prospect stops responding your emails, leave them alone. This means something does not work. Any prospect with even an ounce of interest in your product will respond. Send the breakup email after a couple follow-ups, when you really mean it.
Subject line example: Permission to Close Your Account?
Including some humor to a subject lines makes people feel the email more human and increases chances to open it. Of course, humor upgrades must be situational, depending on the target audience.
Subject line example: The Deals that Make us Proud (Unlike our Nephew, Steve). Hah!
Use situational emails personalized around recent activity of your prospects. Send them out based on recent blog activity, trial signups, referrals, and (especially) visits to the upgrade or unsubscribe page. Timing is key. The quicker you send situational emails, the more relevant they'll be.
Subject line example: Enjoying Your New eBook?
Use some of your subject lines as blog headlines. If the headline performs well, recycle it into a marketing email centered around that post. Give the reader something to relate to and aspire to.
Subject line example: How I grew the KISSmetrics Blog from 0 to 350,000 Readers a Month.
Start by personalizing your subject line with the reader's name, which always stands out in a crowded inbox.
Subject line example: Steve, Where Are You?
Sometimes you must send sad news. Deliver it in a calm, collected, and matter-of-fact way.
Use urgency to get someone's attention. If your readers want the value you're offering, then they need to take action today. So long as the value you're offering is relevant, you should see your open and click-through rates increase when you add deadlines and cutoffs.
Subject line example: Last Chance to Register: Email Marketing for Startups.


text:
Questa voce raccoglie un approfondimento sulle gare del turno preliminare di qualificazione dell'edizione 2016-2017 della UEFA Women's Champions League.

Squadre partecipanti
Il sorteggio per il turno di qualificazione si è tenuto il 24 giugno 2016. Le 36 squadre che partecipano ai preliminari sono state divise in quattro fasce da nove per il sorteggio in base al coefficiente UEFA del club, il quale tiene conto delle prestazioni nelle competizioni europee dalla stagione 2011–12 alla 2015–16 più il 33% del valore del coefficiente assegnato alla federazione nello stesso intervallo di tempo.

in corsivo: squadra ospitante
in grassetto: squadra qualificata

Gruppi
In ogni gruppo, le squadre giocano una contro l'altra in un mini-torneo all'italiana con le teste di serie preselezionate. Le nove vincitrici dei gironi acquisiscono il diritto di accedere ai sedicesimi di finale. Le partite si svolgeranno nei giorni 23, 25 e 28 agosto 2016.

In caso di parità di punti tra due o più squadre di uno stesso gruppo, le posizioni in classifica verranno determinate prendendo in considerazione, nell'ordine, i seguenti criteri:
 maggiore numero di punti negli scontri diretti tra le squadre interessate (classifica avulsa);
 migliore differenza reti negli scontri diretti tra le squadre interessate (classifica avulsa);
 maggiore numero di reti segnate negli scontri diretti tra le squadre interessate (classifica avulsa);
 se, dopo aver applicato i criteri dall'1 al 3, ci sono squadre ancora in parità di punti, i criteri dall'1 al 3 si riapplicano alle sole squadre in questione. Se continua a persistere la parità, si procede con i criteri dal 5 al 9;
 migliore differenza reti;
 maggiore numero di reti segnate;
 calci di rigore se le due squadre sono a parità di punti al termine dell'ultima giornata;
 classifica del fair play;
 posizione nel ranking UEFA.

N.B. Nella dicitura dei gironi viene indicata in corsivo la squadra ospitante.

Gruppo 1

Fonte: Sito UEFA Gruppo 1

Gruppo 2

Fonte: Sito UEFA Gruppo 2

Gruppo 3

Fonte: Sito UEFA Gruppo 3

Gruppo 4

Fonte: Sito UEFA Gruppo 4

Gruppo 5

Fonte: Sito UEFA Gruppo 5

Gruppo 6

Fonte: Sito UEFA Gruppo 6

Gruppo 7

Fonte: Sito UEFA Gruppo 7

Gruppo 8

Fonte: Sito UEFA Gruppo 8

Gruppo 9

Fonte: Sito UEFA Gruppo 9

Note

Collegamenti esterni

Calcio nel 2016
UEFA Women's Champions League

redpajama_set_name: RedPajamaWikipedia


text:
Home Earth Drawn from the Deep: Earth's Primordial Reservoir Older Than the Moon
Drawn from the Deep: Earth's Primordial Reservoir Older Than the Moon
Lead author Matthew Jackson samples Hawaiian lava with a rock hammer. Credit: WHOI Geodynamics Program
Earth's mantle — the layer between the crust and the outer core — is home to a primordial soup even older than the moon. Among the main ingredients is helium-3 (He-3), a vestige of the Big Bang and nuclear fusion reactions in stars. And the mantle is its only terrestrial source.
Scientists studying volcanic hotspots have strong evidence of this, finding high helium-3 relative to helium-4 in some plumes, the upwellings from Earth's deep mantle. Primordial reservoirs in the deep Earth, sampled by a small number of volcanic hotspots globally, have this ancient He-3/4 signature.
Inspired by a 2012 paper that proposed a correlation between such hotspots and the velocity of seismic waves moving through Earth's interior, UC Santa Barbara geochemist Matthew Jackson teamed with the authors of the original paper — Thorsten Becker of the University of Texas at Austin and Jasper Konter of the University of Hawaii — to show that only the hottest hotspots with the slowest wave velocity draw from the primitive reservoir formed early in the planet's history. Their findings appear in the journal Nature.
"We used the seismology of the shallow mantle — the rate at which seismic waves travel through Earth below its crust — to make inferences about the deeper mantle," said Jackson, an assistant professor in UCSB's Department of Earth Science. "At 200 km, the shallow mantle has the largest variability of seismic velocities — more than 6 percent, which is a lot. What's more, that variability, which we hypothesize relates to temperature, correlates with He-3."
For their study, the researchers used the latest seismic models of Earth's velocity structure and 35 years of helium data. When they compared oceanic hotspots with high levels of He-3/4 to seismic wave velocities, they found that these represent the hottest hotspots, with seismic waves that move more slowly than they do in cooler areas. They also analyzed hotspot buoyancy flux, which can be used to measure how much melt a particular hotspot produces. In Hawaii, the Galapagos Islands, Samoa and Easter Island as well as in Iceland, hotspots had high buoyancy levels, confirming a basic rule of physics: the hotter, the more buoyant.
Recommended For You Earth's Core Deprived of Oxygen
"We found that the higher the hotspot buoyancy flux, the more melt a hotspot was producing and the more likely it was to have high He-3/4," Jackson said. "Hotter plumes not only have slower seismic velocity and a higher hotspot buoyancy flux, they also are the ones with the highest He-3/4. This all ties together nicely and is the first time that He-3/4 has been correlated with shallow mantle velocities and hotspot buoyancy globally."
Becker noted that correlation does not imply causality, "but it is pretty nifty that we found two strong correlations, which both point to the same physically plausible mechanism: the primordial stuff gets picked up preferentially by the most buoyant thermochemical upwellings."
The authors also wanted to know why only the hottest, most buoyant plumes sample high He-3/4.
"The explanation that we came up with — which people who do numerical simulations have been suggesting for a long time — is that whatever this reservoir is with primitive helium, it must be really dense so that only the hottest, most buoyant plumes can entrain some of it to the surface," Jackson said. "That makes sense and it also explains how something so ancient could survive in the chaotically convecting mantle for 4.5 billion years. The density contrast makes it more likely that the ancient helium reservoir is preserved rather than mixed away."
"Since this correlation of geochemistry and seismology now holds from helium isotopes in this work to the compositions we examined in 2012, it appears that overall hotspot geochemical variations will need to be re-examined from the perspective of buoyancy," Konter concluded.
Recommended For You Scientists expect to calculate amount of fuel inside Earth by 2025
M. G. Jackson, J. G. Konter, T.W. Becker. Primordial helium entrained by the hottest mantle plumes. Nature, 2017; DOI: 10.1038/nature21023
Note: The above post is reprinted from materials provided by University of California – Santa Barbara. Original written by Julie Cohen.
International team starts on drilling expedition
Scientists Find Iron 'Snow' in Earth's Core
New insights into the formation of Earth's crust
Study explores the density of the tectonic plates and why they sink in the Earth's mantle
New Earth mission will track rising oceans into 2030
Telescopes and satellites combine to map entire planet's ground movement
Composition of Earth's mantle revisited
New species of reptile from 212 million years ago
Using magnetic data: Researcher uncovers 340 million year-old oceanic crust in...
Orthoclase
Double impact crater in Canada formed in two separate impacts
Scientists Discover 'Lubricant' for Earth's Tectonic Plates
Unique Mosasaur fossil discovered in Japan
Earthquake not to blame for Indonesian mud volcano


text:
Tag Archives: Black Mirror
Omnireviewer (week of Oct. 16)
Dear me. Verbose, this week. Well, I've had some spare time, which will be mercifully less spare fairly soon. 32 reviews.
Kentucky Route Zero: Act 3 — My favourite of the first three acts by miles. The sequence with the Xanadu computer is one of my all-time favourite scenes in a video game. The fact that Donald built this thing as a bitter memorial to his relationship with Lula and friendship with Joseph is even sadder when you know that the first adventure game ever was inspired by heartbreak as well. Xanadu is clearly based on Adventure, which was made by William Crowther (another Kentucky-based computer scientist and cave explorer) as an attempt to reconnect with his young daughter after he and his wife divorced. On this playthrough, I came across a section of the Xanadu scene that I hadn't before, where Lula explains why cave paintings are so sad: somebody wanted to memorialize something — a person or relationship, maybe — and we can barely make out any detail. How like the ruined Xanadu computer, and the primitive parser interface of Adventure. There are other highlights, here. I'd love to see the full text of Donald's Kentucky-set version of "Kubla Khan." And, as the party of player characters grows, so does the range of responses to any given situation. Conway is reflective, Shannon practical, Ezra whimsical, and Junebug totally off-topic. Their responses represent different types of gaming. I'm the sort of player who likes to linger and mull things over, so I tend towards Conway's dialogue options. But it's nice to have Shannon around to progress the plot, and the other two to throw occasional monkey wrenches into conversations. Also, the moment in the final scene where the game momentarily takes over the mouse to express the inevitability of Conway's return to drinking is absolutely chilling. I am actually a bit scared to see how that develops in the next episode. I've come to love all of these characters, but if things work out badly for Conway, it's going to be crushing.
Kentucky Route Zero: "Here and There Along The Echo" — I take back what I said about "The Entertainment" being my favourite of the KRZ mini-episodes. It's a dead heat between that and this one. The notion of formatting a game as a telephone hotline menu is not only novel: it opens up a world of possibilities for interactive audio. (The only other example I've seen is Papa Sangre, which is essentially hide and seek in the dark, and I really don't have much time for it.) Like so many other moments in this second playthrough of the pre-2016 portions of Kentucky Route Zero, I had intended for this to be a quick perusal, and then straight on to Act 4, which is new to me and super exciting. But, I ended up spending two hours going through the options, and listening to this fascinating character talk. It was worthwhile for the devs to briefly abandon the text-based aesthetic of this world to introduce spoken audio, if only because it allows a voice actor to give a convincing performance of what people might sound like in this universe. As a side note, anybody else who enjoyed his list of the different types of water as much as I did would do well to check out James Joyce's list of water's admirable attributes from Ulysses.
Kentucky Route Zero: Act 4 — Well, it didn't let me down. This is a quieter, slower, more deliberate Kentucky Route Zero than we've seen before. And it is the first one to be more concerned with the characters and their respective arcs than it is with exploring themes. Rather than presenting simulations within simulations, or posing high-minded questions about whether we're inside or out, this act presents us with Shannon's abiding anger over her parents' death in the mine, Johnny's yearning for a third person to ride with him and Junebug (he wants a child, essentially) and most devastatingly, the effects of Conway's return to drinking. The subtlety with which Conway becomes a different character in this act is both masterful and sad. And the moment when he appears to literally become a different character is the most destabilizing thing in the game so far: the loss of that character and of his particular way of moving through the world seems likely to be more of a paradigm shift than the introduction of the Zero. In general, Act 4 encourages us to take a time-out from our obsessiveness about what everything means and how it connects, and just spend some time empathizing with these characters. But I'm still left with lots of thoughts about the various thematic moving parts and conspiracies at play, here. We know that the power company is evil. We know that they're engaged in debt buying, because they acquired the pharmaceutical company that Conway owes. We also know that the distillery is evil. (How lovely to see a thriving business like the Rum Colony not pouring Hard Times, hey?) We know that the distillery is also involved in debt buying, since they bought the outstanding bar tabs from Harry at the Lower Depths pub. So, how are they connected? Are they connected? We know, at least, that Conway's medical bills (owed, indirectly, to the power company) will be paid off by the distillery in exchange for work (though his labour was already an exchange for having drunk the top-shelf whiskey at the end of Act 3… I smell duplicity). And there's definitely some significance to the fact that Conway's descent into more and more abject debt is represented by his gradually turning into a creepy electricity skeleton. So, what are we going to find out about the connection between those two companies in the grand finale? It's possible that the answer is nothing. I would be surprised if Conway doesn't appear in some capacity in Act 5, but we probably won't learn any specifics. Kentucky Route Zero has never been the type of game to do anything so vulgar as explain itself. It is working on the same level as the conceptual artworks it is so fond of displaying within itself. I've read some muted complaints about this act that criticize it for being less exploratory and interactive than its predecessors. And it's true that you're not allowed the agency to explore the Echo River at your leisure in the same way that you were with the Zero or overground Kentucky. But video game people sometimes need to be reminded of the fact that all art is interactive. The most important act of the movie is the one that happens in the car on the way home, when you talk about what it all meant. Paintings don't live in galleries; they live in your brain. So, even if Act 4 of Kentucky Route Zero puts you on tracks in a way that previous acts didn't, there still ought to be plenty for you to do as a player. End of review. But here are a few stray observations, A.V. Club-style. (And still, I refuse to employ a paragraph break. The nerve.) One. The airplane is back! When I first played Act 1, the thing that really stuck with me is a scene where you can't do anything except for watch two men push a broken airplane down a road. I didn't know what to make of it, and I still don't quite, but that image of struggle left a big impact. And there's a moment in this act, in the gas station scene, where the two men drift past on a barge with their airplane. You could almost miss it, and it's never mentioned in the dialogue, nor is it witnessed by Conway, who was the only character to have seen it in the first place. It's the little things. Two. This act really feels like it comes from 2016. The increasing preoccupation with oil in this reflects the same development in the real world during the two years since the last act of Kentucky Route Zero came out. Also, online dating is a thing in the KRZ world now, just as it's been mainstreamed. Three. One of the small pleasures of this act is actually visiting the locales that were referred to in "Here and There Along the Echo." I'm glad I spent as much time with that as I did, now, because I had a bit of advance knowledge of Sam and Ida's, the Rum Colony, the Iron Pariah (what the hell is up with that!?) and the memorial to something that we can't remember what it is, among other things. In spite of what I said above, if I could request a single expansion to this game, it would be a more open-world model of the Echo so I could actually be the drifter/pilgrim that the Bureau of Secret Tourism was courting. But then, I suppose that would more or less be Sunless Sea. Four. The flashiest, most formalist moment in this act is the one where the narrators are watching security footage of the events after the fact, but you're controlling the characters on that security footage in real time. It's pure Andrew Plotkin. It constitutes the most satisfying cognitive dissonance I've felt since I cheated my way through Spider and Web. Five. Again, it's the little things: Sam and Ida remember their origin story a bit differently. She remembers that he was drinking malt liquor and doing a sudoku. He remembers coffee and a crossword. Six. I can only imagine that Shannon's reunion with Weaver is going to be a bit awkward once she realizes that Weaver used her genius to (I think) invent a new kind of debt, as it was put in "The Entertainment." Maybe she's the missing link between the distillery and the power company. Who knows how long we'll have to wait to find out? I've got to say, though, I honestly don't mind because if it's a long wait, it'll give me an excuse to play through the whole game a third time. As it stands, I think I'll do a second playthrough of Act 4 fairly soon, because it's definitely more than two playthroughs worth of game. I shall report back. Pick of the week.
Magnus Hildebrandt: Kentucky Fried Zero — This is an indispensable primer on the sources for Kentucky Route Zero, ranging from dustbowl photography to Buckminster Fuller and on to the more expected reference points like computer science and Samuel Beckett. The three parts of this are quite short, and you get the sense that Hildebrandt could easily track down and elucidate many more references and influences. (He even says as much in the second-last paragraph of part three.) I hope that he will go back and expand these once the final act of the game is out and we know what we're working with.
William Blake: Jerusalem the Emanation of the Giant Albion — Look, I didn't enjoy this. I just didn't. I have very limited patience for this kind of inscrutable literature. I mean this kind as distinct from, say, Ulysses. At least Joyce's obscurity seems to be motivated at least partially by a sense of fun: he's laying out a trail of breadcrumbs, and trusts that you'll arrive at some kind of understanding eventually. Blake doesn't seem to know he's being obscurantist. It appears to me, a deeply undereducated reader in these sorts of texts, that Blake isn't trying to be obscure; he's failing to be direct. And so, the proliferation of characters without fixed identities and the religious commentaries so idiosyncratic that I can barely relate them to what I know of a given religion are not endearing at all — they are massively frustrating. Blake's canon, unexplained as it is, is like jargon. It's like hearing Scientologists talk about thetans and SPs. I did enjoy doing a bit of reading about Blake, and what he's apparently on about in this. But my actual time spent reading the poem, with its brilliant illuminated plates, was not fun. I suppose I have to accept that now that I'm a couple years out of grad school, I am effectively "the everyday reader" and so these kinds of texts that are not meant to be understood without rigorous study are simply no longer the kinds of things I'll take pleasure in. And I'm totally okay with that. Anyway, now I feel prepared to tackle Alan Moore's Jerusalem. I'll get to it soon.
Karen Page: The Vegetarian Flavor Bible — I am not a vegetarian, nor am I likely to become one in the near future. But, as part of my ongoing mission to be more creative in the kitchen while eating a bit less meat, I have gone ahead and purchased this tome. It is basically an encyclopedia of flavour combinations, specifically for plant-based diets. I am well aware of the existence of the original Flavor Bible, with its lamb and its bacon, and I will almost surely purchase that as well if this one proves to be useful. But my first priority is getting a handle on creative cooking without meat. I confess that the introduction to this volume is a little bit depressing compared to the one in its meaty predecessor (I read the Kindle free sample) because it focusses almost entirely on nutrition. Maybe that's predictable. I'm interested in nutrition, insofar as I want to be healthy. But my god, is it ever a boring topic to read about. Still, that's hardly the point. I have already prepared some middling-to-good, but at least interesting vegetarian meals using this as my guide. One, with wilted spinach and nutmeg served on a grilled portabello mushroom with crumbled ricotta was actually pretty excellent. I shall keep you apprised.
J.K. Rowling, John Tiffany & Jack Thorne: Harry Potter and the Cursed Child — I was never not going to read it, and I liked it a lot more than the fan consensus. It's flawed, but it's a decent afternoon's-worth of nostalgia. And it is openly nostalgic for the first seven books, in the way that Jason Segal's Muppet movies are for the original Muppet Show, or that certain modern Doctor Who stories are for the classic series. The story of Harry Potter's time at Hogwarts is as important and formative a narrative for the characters in this story as it is for the people who grew up reading Harry Potter books, and thus the younger characters are effectively surrogates for us. Or at least, Scorpius Malfoy is. Albus Potter is a touch too resentful. It's fitting, then, that the key plotline should involve time travel, and specifically time travel back to the days of the beloved Goblet of Fire. Because, The Cursed Child is more of a time capsule than it is a modern Harry Potter story. It's a way to go back, and see familiar things from a slightly different vantage point. (This happens literally in the play's final act, which takes place largely [spoiler] in Godric's Hollow.) Its canonicity, as much as such things matter, will always be slightly compromised by the fact that it's a play and not a novel, and that it mostly wasn't written by J.K. Rowling. But that's not the real issue: the real issue is that reading a script is a very incomplete experience. Without actors to bring the characters to life, their emotional arcs seem a bit rushed. Think of it as the opposite of the languidly-paced Order of the Phoenix. The biggest flaws really do come down to the difficulty of representing a stage play on the page — which isn't even what this purports to do; it's a script from which staged productions are meant to be extrapolated. I think most of the extremely negative critiques fail to take this into account. Jack Thorne comports himself fairly well, even if his dialogue never made me laugh. (Rowling doesn't get enough credit for her wit.) Still, I'm left somewhat unsure of whether my beloved His Dark Materials is in good hands or not when Thorne adapts it for the BBC. Because that's happening. There are really only two substantial problems with this in terms of story. One involves the play's breakout character, Scorpius Malfoy, who is by a series of machinations briefly transformed from a school outcast to an immensely popular teenager. We're meant to believe that, under a certain set of circumstances, there's a part of Scorpius that could allow this to happen. And yet, he immediately casts off his good fortune for the greater good, with virtually no inner conflict at all. I found that a bit of a let down, and it certainly wouldn't have played out that way in a novel, where the narrative need not be so collapsed. And the other issue is time travel. You have to completely ignore the time travel mechanics if you want to have a good time reading this. It's not so much the divergence from the mechanic in The Prisoner of Azkaban that chafes: it's a scene in which people in the present talk about a person who has gone to the past and tried to change it as if that hasn't already happened — which, by definition, it has. And even this contradicts the way the time turner was seen to work earlier in the play. But the authors don't let a thing like that get in the way of a good story. And the positives outweigh the negatives, even if the most satisfying moments are basically fan service. It's immensely gratifying to see Hermione as the Minister for Magic (ergo, Harry's boss). Too bad she got saddled with such a schlub of a husband. Ron seems to have shed what little charisma he had with age. But he wears his schlubbiness well. Possibly the deftest touch of all is the way that the acrimony between Harry and Malfoy is maintained into adulthood without Malfoy seeming like an overgrown schoolyard bully. They're just two adults, living adult lives, who don't get along. And, as star moments for fan favourites go, the sweepstakes are easily taken by Severus Snape, who gets to make his heroic sacrifice a second time. But there's an impressive showing from Professor McGonagall as well, who offers a stirring rebuke to basically all of the other characters in the play for treating a peaceful world recklessly in spite of all that's been sacrificed to bring it to bear. This is well worth reading. If you're a fan and you're on the fence, just do it now. You know you will eventually, anyhow.
Last Week Tonight: October 16, 2016 — A strong episode containing very little of what I don't like about this show. Oliver's segment on Gary Johnson and Jill Stein will likely be the most widely seen piece on either of them during this election, and it wouldn't surprise me if it actually affected their polling numbers.
Charlie Brooker's 2015 Wipe — I've decided to go down a Charlie Brooker wormhole. It starts here, with him speaking direct to camera about what he thinks, and it will continue with Nathan Barley and the first two seasons of Black Mirror, in preparation for the new one. I've seen Brass Eye, but it was a long time ago, and that's mostly Chris Morris anyway. This is worthwhile for Philomena Cunk alone, but Brooker himself gets some great lines as well. It's also actually a good New Years' program, which is as far as I know, unique on television.
How Videogames Changed the World — I like Charlie Brooker. I kind of want to be him. This special on video games (in my world, it's two words) is limited, as an under two-hour documentary has to be. And, it focusses on the really gamey kinds of games that kind of don't do much for me. (The history of the kind of games I like starts with Adventure, not Pong.) But it still has time to bring up stuff like Papers, Please, which remains one of the most powerful interactive experiences I've ever had. And this show's real virtue is that it manages to cover the major moments and conflicts that video games stirred up in real life: moral panics, feminist critiques, the staggeringly gradual mainstreaming of the medium, etc. Brooker's list of the most important games is self-evidently selected for ease of narrative rather than actual quality or influence, but that's the only way to make a show like this, and it would have been profoundly boring if it were just a bunch of people talking about why a bunch of games that I probably mostly don't care about are really good. (And that sight gag with the Braid mechanic is really clever.)
Black Mirror: "The National Anthem" — First, the shit. Naturally, the one female reporter in this episode with lines sends a nude pic to a government staffer for a scoop. This is a trope so depressingly common that it has the air of tragic inevitability whenever a female journalist is introduced into a show. The rest of the episode is astonishing. It doesn't even matter if you already know the premise and the ending, which you inevitably do given this episode's renewed relevance after David Cameron's alleged porcine indiscretions. The remarkable thing is how straight it's played. It's wrenching human drama on a national scale. Everybody is cheapened by having watched what they watched. If it weren't for that one lazy and harmful bit of misogyny, it would be a masterpiece.
Requiem for the American Dream — Chomsky is somebody who I've been aware of for years, but he falls just far enough outside the scope of my education that I never actually read him. This documentary, which is built entirely on original interviews with Chomsky, seems like a good primer for the most germane points of his philosophy. It focusses specifically on the process by which wealth and power are acquired by a smaller and smaller segment of the population: namely, the reduction of democracy. It's brilliantly argued, and makes modern America make a sad sort of sense.
Isabelle Faust, Claudio Abbado & Orchestra Mozart: Berg & Beethoven Violin Concertos — I realized after recommending this recording in last week's VSO review that, firstly, I haven't heard it in a really long time, and secondly, I have in fact never listened to the Beethoven that fills the disc. First the Berg, though. It's flat-out one of my favourite recordings. I love this piece. I love its expressiveness and the way that it develops its melodic material. I love the way that it throws torrents at you, only to back away gradually and leave you breathless at the end. I love the Bach quotation in the winds in the second movement, and how the violin solo line plays against it. It's a masterpiece. And of the handful of recordings I've heard, this is definitely my favourite. Faust plays with elegance, even when the melodies start to take on the rougher topography of Berg's Second Viennese School compatriots. And Abbado will probably always be my favourite conductor of Berg, because he realizes that Berg is the true heir to Mahler. His approach to the orchestra in this concerto has the same lushness that he applies to Mahler 9 (a work that he absolutely owns, for me), and it is just as much of a study in contrasts. Everybody should hear this. Now, the Beethoven. The violin concerto is not one of my favourite pieces by Beethoven. The first movement has a nasty habit of going into a minor key right when I want to hear a triumphant reiteration of the theme in major. The third is one of those mid-tempo dance finales that usually doesn't work for me. I do like the second movement, but compared to some of the slow movements from Beethoven's middle period symphonies, even that falls a bit short. So, this recording has more labour to do with the Beethoven than with the Berg, because it has to sell a piece I like a lot less. And it doesn't really. That's about all there is to say.
Vulfpeck: The Beautiful Game — Difficult second album. On one hand, it's got "Animal Spirits" (and heartfelt lyrics) which is one of their best and catchiest ever. Very much this album's "Christmas in L.A." Also, The Beautiful Game expands the palate to include house-reminiscent beats, which as far as I can remember, is new for Vulfpeck. But it certainly doesn't have as many jump-out-of-the-headphones moments as Thrill of the Arts did. I might pick "Animal Spirits," "1 for 1, Dimaggio" and "Dean Town" as highlights here. (And I do love that Klezmer clarinet intro, but it's basically not a song.) And it's notable that the former two are both transparent Jackson 5 pastiches ("Animal Spirits" is "I Want You Back" and "1 for 1" is clearly "ABC") Think back to how many great tracks there were on Thrill, though: "Welcome to Vulf Records," "Back Pocket," "Funky Duck," "Rango II," "Christmas in L.A"… I will almost certainly warm to this, but there's no way I will come to love that many of its tracks.
Tangerine Dream: Phaedra — I don't know what possessed me to listen to this just now. I'd never heard it, and the only other Tangerine Dream I knew was Force Majeure. This is far more abstract than that, and it strikes me as an album that has more historical importance than modern-day interest. It's like the electronic music equivalent of plainchant. Mostly it just made me wish I were listening to Tim Hecker, which I think I will now do. (And I did. My feelings about Love Streams are the same as when I reviewed it before. It's some of the best music of the year.)
A Winged Victory for the Sullen: Atomos — That is a very overwrought band name, sure. But this is decent ambient music. I've been listening to stuff as I read, this week, and this is great for that. I'm not so sure it would stand on its own. That's a key distinction in this milieu of modern classical music. John Luther Adams' Become Ocean, for instance, is profound and beautiful, and in spite of some superficial similarities to Atomos, it can sustain attention. Same goes for Max Richter — and he wrote music for sleeping. Still, this did the trick. I dunno if I'll listen again.
Brian Eno: Another Green World — This is in my all-time top five, and as with all things that I love passionately, I try not to overexpose myself to it. But I was on a long bus commute recently, and it just seemed like the right thing. Incredibly, I had been listening to this semi-regularly for years before it struck me that it's more than merely excellent and is in fact perfect. I can't think rationally about this album anymore. Listening to some of these songs I feel like I could walk into traffic and it would pass right through me. Eno is strangely averse to the idea of love songs, but there are several ravishing ones on here, most notably "St. Elmo's Fire": the finest song with lyrics that Eno ever made. Without ever using the word "love," Eno perfectly conjures that feeling of ecstasy that so many songwriters fail to describe. He does it by allowing the music to do the bulk of the heavy lifting, and especially Robert Fripp's guitar solo which is the most beautiful guitar solo ever recorded. In spite of being fast and technical, it also feels human and brittle — the way it cracks and stammers at the ends of phrases just kills me. And the other ninja move that this album employs is the most ingenious track sequencing maybe ever. Rather than trying to balance out the energy throughout the record, it allows itself to gradually sink into a reverie at the end. The way that "Zawinul/Lava" builds and falls, and ejects us into "Everything Merges With The Night" (more ravishing guitar from Fripp), and then finally into the comparative uncertainty of "Spirits Drifting" is one of the greatest closing sequences on any record ever. At this point, you'd expect me to make it my pick of the week, but I feel a strange pressure to play against type, this time. Everybody who's ever read anything I've written or been in the same room with me knows how much I love Brian Eno. KRZ takes it.
Pop Culture Happy Hour: "Lupita Nyong'o, Cameron Esposito & Rhea Butcher, and the Best of TV" — Nice that PCHH can manage so often to cobble together a show even when they have no panelists. These interviews are great, specifically the one with Cameron Esposito and Rhea Butcher, because they are very funny people. But it's also nice to hear Linda Holmes' much-discussed friend Alan Sepinwall make his PCHH debut. TV: The Book sounds like something that would frustrate me immensely in its format: ranking the top 100 shows? Really? But I expect that these two authors would have something interesting to say, at least. Given that they're basically already advertizing the second edition, I may sit this one out and wait for it to be updated. (But I'll probably flip through it in the bookstore next time I'm browsing.)
Fresh Air: "How Free Web Content Traps Us In An Abyss Of Ads & Clickbait" — Nothing like a good bit of #content-related #content. Tim Wu's new book, The Attention Merchants, sounds incredible and depressing. He talks about how advertising on major web platforms has cheapened web publishing and made the internet worse. I think I'm going to have to read this.
Love and Radio: "The Enemy Within" — Part of the appeal of Love and Radio is just purely listening to someone tell you a story with no interruptions. So, when Glenn Loury tells his story of womanizing and drug abuse while teaching economics at Harvard, you want to listen. But, being Love and Radio, it's also more complicated than that and addresses not only the discrepancy between his own conduct and his socially conservative politics, but it also problematizes the very notion that a person's actions can invalidate their arguments.
In The Dark: "What's Going On Down There?" — This has become a truly excellent podcast in the late phase of its run. And I'm only partially saying that because this features an actual police investigation where a man was told by (clearly awful) police officers that his missing son may have been eaten by turtles. I laughed out loud at that and subsequently felt a little bad. Anyway, last week's survey of wide-ranging police incompetence in the town where Jacob Wetterling was abducted started the train towards this episode's staggering finish, which posits that the way America handles policing is deeply and inherently flawed. Local police departments are not held to any kind of standard by the federal government, which just seems wrong. If I were the Stearns County sheriff, I'd be huddling in a corner right about now. This would have been a powerful finale, but I'm looking forward to the one episode that they've decided to add to this.
NPR Politics Podcast: "Previewing The Final Debate" — I'M NOT WATCHING THIS DEBATE! LA LA LA LA LA! Because they're not going to talk about policy, they're just going to talk about Clinton's leaked emails (actually worth talking about, if only it wasn't an orangutan doing the talking) and Trump's temperamental unfitness to be president (EMINENTLY CLEAR). The fact that the panelists on this show are willing to entertain the fact that policy may enter into this is frankly adorable. I do love them.
99% Invisible: "Half a House" — A lovely complement to the previous episode about Chile. 99pi can lapse into design boosterism at times, but really it's just boosterism for human ingenuity. Like, you have a problem: an earthquake levelled a city and there's not enough public money for the necessary subsidized housing. And, you have a solution: build people half a house. It sounds ridiculous, but people can build the other half for themselves when they're back on their feet. It seems to be working. There's a moment in this where Roman Mars confirms that the reason this sort of thing doesn't happen in the U.S. isn't lack of money or lack of necessity, but simply a difference of values. Which is why I have very little respect for American values. This is 99pi doing what it does best. I haven't enjoyed it this much in a long time.
All Songs Considered: "Pusha T and Rivers Cuomo Join Zeds Dead, Amber Coffman, TOY, More" — Whole lotta meh. I liked the Agnes Obel track well enough, but I haven't heard much on this show that I want to check out for a while. Not their fault. I'm probably just not in music discovery mode.
Radiolab: "Seneca, Nebraska" — This story is just begging to be told in a not public radio way. The Radiolab crew obviously knows that in the story of a small town that voted to unincorporate because their 20 residents couldn't get along, they have a parable. So, why not tell it that way? Where's Nate DiMeo when you need him? Hell, even Scott Carrier would suffice.
On the Media: "Race to the Bottom" — Gladstone's poverty myths series has moved from debunking myths about impoverished people to debunking the myths that America tells itself about how it approaches poverty. In this one, it's the bootstrap myth. That is a sad narrative to turn out to be a myth, because it means that there isn't actually much of a chance that a person can better their lot — not without an astronomical amount of luck. It's also interesting to hear about the origins of the phrase "pulling oneself up by their bootstraps," which actually started off as a metaphor for impossibility before it started representing the American Dream. And then, in a demonstration of the profound power of metaphors and ideas to shape society, the American Dream became impossible to attain.
The Gist: "Rapid Response: Cirque du Debate" — Okay, so I did end up watching the debate. And I'm happy I did, if only to have context for Mike Pesca's latest round of spin room misadventures. It is so obvious listening to Trump's surrogates talk that they just do not have anything under control. Ben Carson straight up brushing Pesca off is the highlight, but the whole thing is chaos. The best that a non-American such as myself can hope for in this election, given that I am not one of the millions of unauthorized voters that Trump predicts will swarm the polls in November, is to be nearly as entertained as you are bewildered, and I confess to having been that while listening to this.
NPR Politics Podcast: "The Third Presidential Debate" — The fact that this debate is being praised as the most substantive of the three is both accurate and still really depressing. The panel is right to assert that the most notable thing about this phase of Trump's campaign is his insistence that whenever he doesn't win something, it's rigged. I've known people like this. People who believe that "unfairness" is coextensive with "bad things happening to them, specifically." I think that it's a kind of logic that underpins much of what's wrong with the world. The notion of having a president of the U.S.A. that thinks like this without a shred of self-awareness is void-screamingly, cliff-jumpingly frightening. Fortunately, it won't happen because he's also too dumb to know when he's shooting himself in the foot.
A Point of View: "In Praise of Difficulty" — Why must every critic who has the bravery to stick up for difficult art and educated audiences also have a stick up their ass about pop culture? This is a pretty good vindication from Howard Jacobson of the kind of art that gets the shaft from the shitty kind of populists — but then it nosedives into jabbing at the kind of art that appeals to the good kind of populists. There is an emerging kind of intellectual for whom the phenomena and iconography associated with boy bands and thrillers (Jacobson's examples, not mine) are fodder for a rather exciting sort of criticism, in much the same way that Shakespeare was for many prior generations. Can't we acknowledge that fact while also shitting on people who don't understand Shakespeare? I really think it ought to be easy to have it both ways. Additional thoughts: I would generally stick up for the rights of the reader over the rights of the writer, in opposition to Jacobson, but I'll provide here that the reader has to earn that right by being an interesting reader. (Read as: critic.) That is why, in my review for the staggeringly difficult work by William Blake that I've just slogged through, I blamed myself for having nothing to say.
Fresh Air: "'Black Mirror' Creator Dramatizes Our Nightmares About Technology" — Charlie Brooker is a less-than-scintillating interview, and I'm not totally convinced that Black Mirror is as smart as all these old people think it is. I'm one episode in, and I did like that episode, but it seems like the more explicitly it engages with modern media, the more vapid its critiques become. That's sad to see, because I'm also watching Nathan Barley right now (review to come when it's done; it's useless to critique in part) and that is remarkably prescient for having been made in 2005.
StartUp: "Shadowed Qualities" — This is such enrapturing radio. The bulk of it is taken from a single conversation — virtually a therapy session — between Alex Blumberg (holy moly is he having a rough month) and an executive coach who we heard from in season two. And while I am usually quick to dismiss such people as snake oil salesmen, this fellow gets to the heart of Blumberg's reluctance to step up and command his company as opposed to focussing on story edits really, really efficiently. And hearing Blumberg work through that in real time is fascinating. Traditional radio has moments that they call "driveway moments," where you stay in your car to hear the end of the story even when you've already gotten home. Podcasts don't have that, obviously. But at several moments during this episode, I forgot that I was eating breakfast. That seems like a logical equivalent. Pick of the week.
You Must Remember This: "The Blacklist," parts 12-13 — Elia Kazan is one of my new favourite characters in this series. Looks like he'll be back soon, too.
This entry was posted in Books, Classical Music, Movies, Omnireviewer, Podcasts, Popular Music, TV, Video games and tagged 99% Invisible, A Point of View, A Winged Victory For The Sullen, Alban Berg, All Songs Considered, Black Mirror, Brian Eno, Charlie Brooker, Fresh Air, Harry Potter, In The Dark, John Oliver, Karen Page, Kentucky Route Zero, Love and Radio, Magnus Hildebrandt, Noam Chomsky, NPR Politics Podcast, On the Media, Pop Culture Happy Hour, Radiolab, StartUp, Tangerine Dream, The Gist, Vulfpeck, William Blake, You Must Remember This on October 24, 2016 by Matthew.


text:
Q: Error: '_elements.contains(element)': is not true I am seeing this error  '_elements.contains(element)': is not true.for the past two days in my flutter project, this was working absolutely fine since the beginning. I am sorry to say this but I have no clue regarding this error but i think i am missing something which is causing this error. Also, when I hot reload the same page the layout is populated, but throws the exceptions.
Intermittently this was also showing Duplicate GlobalKeys() detected, but this wasn't the case in the beginning.
Please can someone help me if they stumbled upon these errors before. I couldn't really write an example to reproduce the same problem. Many thanks.
I have given the error details as follows:
Performing hot reload...
I/flutter (22248): ══╡ EXCEPTION CAUGHT BY WIDGETS LIBRARY
╞═══════════════════════════════════════════════════════════
I/flutter (22248): The following assertion was thrown building
TickerMode(mode: disabled):
I/flutter (22248): 'package:flutter/src/widgets/framework.dart': Failed
assertion: line 1766 pos 12:
I/flutter (22248): '_elements.contains(element)': is not true.
I/flutter (22248):
I/flutter (22248): Either the assertion indicates an error in the framework
itself, or we should provide substantially
I/flutter (22248): more information in this error message to help you
determine and fix the underlying cause.
I/flutter (22248): In either case, please report this assertion by filing a
bug on GitHub:
I/flutter (22248):   https://github.com/flutter/flutter/issues/new
I/flutter (22248):
I/flutter (22248): When the exception was thrown, this was the stack:
I/flutter (22248): #2      _InactiveElements.remove
 (package:flutter/src/widgets/framework.dart:1766:12)
I/flutter (22248): #3      Element._retakeInactiveElement
(package:flutter/src/widgets/framework.dart:2850:29)
I/flutter (22248): #4      Element.inflateWidget
(package:flutter/src/widgets/framework.dart:2873:32)
I/flutter (22248): #5      Element.updateChild
(package:flutter/src/widgets/framework.dart:2688:12)
I/flutter (22248): #6      ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
I/flutter (22248): #7      Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #8      ProxyElement.update
(package:flutter/src/widgets/framework.dart:3792:5)
I/flutter (22248): #9      Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #10     RenderObjectElement.updateChildren
(package:flutter/src/widgets/framework.dart:4262:32)
I/flutter (22248): #11     _TheatreElement.update
(package:flutter/src/widgets/overlay.dart:508:17)
I/flutter (22248): #12     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #13     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
I/flutter (22248): #14     Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #15     StatefulElement.update
(package:flutter/src/widgets/framework.dart:3682:5)
I/flutter (22248): #16     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #17     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
I/flutter (22248): #18     Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #19     ProxyElement.update
(package:flutter/src/widgets/framework.dart:3792:5)
I/flutter (22248): #20     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #21     SingleChildRenderObjectElement.update
(package:flutter/src/widgets/framework.dart:4535:14)
I/flutter (22248): #22     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #23     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
I/flutter (22248): #24     Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #25     StatefulElement.update
(package:flutter/src/widgets/framework.dart:3682:5)
I/flutter (22248): #26     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #27     SingleChildRenderObjectElement.update
(package:flutter/src/widgets/framework.dart:4535:14)
I/flutter (22248): #28     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #29     SingleChildRenderObjectElement.update
(package:flutter/src/widgets/framework.dart:4535:14)
I/flutter (22248): #30     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #31     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
I/flutter (22248): #32     Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #33     StatefulElement.update
(package:flutter/src/widgets/framework.dart:3682:5)
I/flutter (22248): #34     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #35     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
I/flutter (22248): #36     Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #37     ProxyElement.update
(package:flutter/src/widgets/framework.dart:3792:5)
I/flutter (22248): #38     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #39     SingleChildRenderObjectElement.update
(package:flutter/src/widgets/framework.dart:4535:14)
I/flutter (22248): #40     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #41     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
I/flutter (22248): #42     Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #43     StatelessElement.update
(package:flutter/src/widgets/framework.dart:3607:5)
I/flutter (22248): #44     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #45     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
I/flutter (22248): #46     Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #47     StatelessElement.update
(package:flutter/src/widgets/framework.dart:3607:5)
I/flutter (22248): #48     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #49     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
 I/flutter (22248): #50     Element.rebuild
 (package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #51     StatelessElement.update
(package:flutter/src/widgets/framework.dart:3607:5)
I/flutter (22248): #52     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
 I/flutter (22248): #53     ComponentElement.performRebuild
(package:flutter/src/widgets/framework.dart:3557:16)
 I/flutter (22248): #54     Element.rebuild
(package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #55     StatelessElement.update
(package:flutter/src/widgets/framework.dart:3607:5)
I/flutter (22248): #56     Element.updateChild
(package:flutter/src/widgets/framework.dart:2677:15)
I/flutter (22248): #57     ComponentElement.performRebuild
 (package:flutter/src/widgets/framework.dart:3557:16)
 I/flutter (22248): #58     Element.rebuild
 (package:flutter/src/widgets/framework.dart:3446:5)
I/flutter (22248): #59     ProxyElement.update
(package:flutter/src/widgets/framework.dart:3792:5)
 I/flutter (22248): #60     Element.updateChild
 (package:flutter/src/widgets/framework.dart:2677:15)
  I/flutter (22248): #61     ComponentElement.performRebuild
 (package:flutter/src/widgets/framework.dart:3557:16)
 I/flutter (22248): #62     Element.rebuild
 (package:flutter/src/widgets/framework.dart:3446:5)
 I/flutter (22248): #63     ProxyElement.update
 (package:flutter/src/widgets/framework.dart:3792:5)
  I/flutter (22248): #64     Element.updateChild
  (package:flutter/src/widgets/framework.dart:2677:15)
  I/flutter (22248): #65     ComponentElement.performRebuild
  (package:flutter/src/widgets/framework.dart:3557:16)
          I/flutter (22248): #66     Element.rebuild
   (package:flutter/src/widgets/framework.dart:3446:5)
  I/flutter (22248): #67     StatefulElement.update
  (package:flutter/src/widgets/framework.dart:3682:5)
  I/flutter (22248): #68     Element.updateChild
    (package:flutter/src/widgets/framework.dart:2677:15)
  I/flutter (22248): #69     ComponentElement.performRebuild
  (package:flutter/src/widgets/framework.dart:3557:16)
    I/flutter (22248): #70     Element.rebuild
   (package:flutter/src/widgets/framework.dart:3446:5)
    I/flutter (22248): #71     ProxyElement.update
  (package:flutter/src/widgets/framework.dart:3792:5)
  I/flutter (22248): #72     Element.updateChild
  (package:flutter/src/widgets/framework.dart:2677:15)
   I/flutter (22248): #73     ComponentElement.performRebuild
  (package:flutter/src/widgets/framework.dart:3557:16)
  I/flutter (22248): #74     Element.rebuild
  (package:flutter/src/widgets/framework.dart:3446:5)
  I/flutter (22248): #75     StatefulElement.update
 (package:flutter/src/widgets/framework.dart:3682:5)
  I/flutter (22248): #76     Element.updateChild
 (package:flutter/src/widgets/framework.dart:2677:15)
 I/flutter (22248): #77     ComponentElement.performRebuild
  (package:flutter/src/widgets/framework.dart:3557:16)
  I/flutter (22248): #78     Element.rebuild
  (package:flutter/src/widgets/framework.dart:3446:5)
   I/flutter (22248): #79     ProxyElement.update
  (package:flutter/src/widgets/framework.dart:3792:5)
   I/flutter (22248): #80     Element.updateChild
    (package:flutter/src/widgets/framework.dart:2677:15)
 I/flutter (22248): #81     ComponentElement.performRebuild
     (package:flutter/src/widgets/framework.dart:3557:16)
    I/flutter (22248): #82     Element.rebuild
     (package:flutter/src/widgets/framework.dart:3446:5)
      I/flutter (22248): #83     ProxyElement.update
     (package:flutter/src/widgets/framework.dart:3792:5)
   I/flutter (22248): #84     Element.updateChild
    (package:flutter/src/widgets/framework.dart:2677:15)
   I/flutter (22248): #85     ComponentElement.performRebuild
    (package:flutter/src/widgets/framework.dart:3557:16)
       I/flutter (22248): #86     Element.rebuild
 (package:flutter/src/widgets/framework.dart:3446:5)
  I/flutter (22248): #87     StatelessElement.update
     (package:flutter/src/widgets/framework.dart:3607:5)
   I/flutter (22248): #88     Element.updateChild
  (package:flutter/src/widgets/framework.dart:2677:15)
     I/flutter (22248): #89     ComponentElement.performRebuild
  (package:flutter/src/widgets/framework.dart:3557:16)
   I/flutter (22248): #90     Element.rebuild
  (package:flutter/src/widgets/framework.dart:3446:5)
     I/flutter (22248): #91     StatefulElement.update
  (package:flutter/src/widgets/framework.dart:3682:5)
  I/flutter (22248): #92     Element.updateChild
  (package:flutter/src/widgets/framework.dart:2677:15)
  I/flutter (22248): #93     ComponentElement.performRebuild
  (package:flutter/src/widgets/framework.dart:3557:16)
   I/flutter (22248): #94     Element.rebuild
  (package:flutter/src/widgets/framework.dart:3446:5)
  I/flutter (22248): #95     ProxyElement.update
    (package:flutter/src/widgets/framework.dart:3792:5)
   I/flutter (22248): #96     Element.updateChild
   (package:flutter/src/widgets/framework.dart:2677:15)
   I/flutter (22248): #97     ComponentElement.performRebuild
   (package:flutter/src/widgets/framework.dart:3557:16)
    I/flutter (22248): #98     Element.rebuild
   (package:flutter/src/widgets/framework.dart:3446:5)
    I/flutter (22248): #99     BuildOwner.buildScope
    (package:flutter/src/widgets/framework.dart:2246:33)
      I/flutter (22248): #100

      BindingBase&SchedulerBinding&GestureBinding&ServicesBinding&Renderer
     Binding&WidgetsBinding.drawFrame
      (package:flutter/src/widgets/binding.dart:580:20)
       I/flutter (22248): #101

    BindingBase&SchedulerBinding&GestureBinding&ServicesBinding&Renderer
  Binding._handlePersistentFrameCallback
   (package:flutter/src/rendering/binding.dart:200:5)
    I/flutter (22248): #102
    BindingBase&SchedulerBinding._invokeFrameCallback
   (package:flutter/src/scheduler/binding.dart:713:15)
   I/flutter (22248): #103    BindingBase&SchedulerBinding.handleDrawFrame
     (package:flutter/src/scheduler/binding.dart:649:9)
     I/flutter (22248): #104

   BindingBase&SchedulerBinding&GestureBinding&ServicesBinding&Renderer
   Binding.scheduleWarmUpFrame.<anonymous closure>
    (package:flutter/src/rendering/binding.dart:286:20)
   I/flutter (22248): #106    _Timer._runTimers (dart:isolate-
      patch/dart:isolate/timer_impl.dart:367)
      I/flutter (22248): #107    _Timer._handleMessage (dart:isolate-
     patch/dart:isolate/timer_impl.dart:401)
     I/flutter (22248): #108    _RawReceivePortImpl._handleMessage
       (dart:isolate-patch/dart:isolate/isolate_patch.dart:163)
         I/flutter (22248): (elided 3 frames from class _AssertionError and
       package dart:async-patch)
       I/flutter (22248):

  ══════════════════════════════════════════════════════════════════════════
  ══════════════════════════
  Reloaded 0 of 492 libraries in 823ms.

I have included a sample example of what i am trying to do in my application.
main.dart
import 'package:flutter/rendering.dart';
import 'package:flutter/material.dart';
import 'package:untitled3/secondwidget.dart';

void main() {
  runApp(
    new Example(),
  );
}

class Example extends StatefulWidget {
  @override
  _ExampleState createState() => new _ExampleState();
}

class _ExampleState extends State<Example> {
  int noOfBranches;

  @override
  void initState() {
    super.initState();
    getCount();
  }

  void getCount() {
    print('list builder count is ${noOfBranches}');
  }

  @override
  Widget build(BuildContext context) {
    setState(() {
      noOfBranches = 2;
    });

    return new MaterialApp(
      home: new Scaffold(
        body: new ListView.builder(
        itemCount: noOfBranches,
        itemBuilder: (BuildContext context, int index) {
          return new Card(
            child: new FlatButton(
                onPressed: (() {
                  Navigator.push(
                      context,
                      new MaterialPageRoute(
                          builder: (_) => new SecondWidget()));
                }),
                child: new Text('Next Widget')),
          );
        }),
      ),
    );
  }
 }

secondwidget.dart
import 'package:flutter/material.dart';
import 'package:flutter/rendering.dart';

  class SecondWidget extends StatefulWidget {
  @override
 _SecondWidgetState createState() => new _SecondWidgetState();
 }

 class _SecondWidgetState extends State<SecondWidget> {
  @override
  Widget build(BuildContext context) {
    return new Container(
      child: new Text('Second Widget'),
   );
  }
 }

I don't see the error in my application if setState() declare as given in the example main.dart file inside the
@override
   Widget build(BuildContext context) {
     setState(() {
    noOfBranches = 2;
      });
      .....
      }

but I only see this error if I declare the setState() inside the getCount() function.
I am not so sure why this is the case.
I am actually stuck on this error for two days and any help would be greatly appreciated.
Many Thanks,
Mahi

A: I think I kinda solved the error by declaring the setState() inside the
    @override
  Widget build(BuildContext context) {
    setState(() {
      noOfBranches = 2;
    });
    print('noof branches inside widget build = $noOfBranches');
.....
}

Now the app is running absolutely fine without any problems.
But, I would be grateful if there are any more suggestions as I am new to programming and would be very very happy to learn more.
The only problem was the setState() was modifying the context and when clicked on the button to call another widget it was throwing up with this error message.
Many Thanks,
Mahi.

A: Why don't you set your noOfBranches variable not in the initState method?
@override
void initState() {
  super.initState();
  noOfBranches = 2;
}


In a jugdment dated June 29th, 2017, the CJEU stated that service provisions (transportation of goods and ancillary services) to a third country were not VAT-exempt when these services were not directly provided to the sender or to the recipient of the goods, but to the main carrier by a subcontractor.
More precisely, the CJEU rules that the existence of a direct link (as provided for in article 146, 1-e of the VAT directive) between service provisions and imports or exports of goods implies that related service provisions contribute to the actual completion of an export or an import, but also that these services be directly provided to the importer, the exporter or the recipient of the goods.
The End of the Cost Sharing Group VAT exemption for FSI businesses?


text:
Birth of the Storm by Valerie Storm - Cover Reveal
By Jasmine J 3:00 AM Books, Cover Reveal, fantasy, young adult
Demon Storm, Book One
YA Fantasy
A bolt of lightning. And a dream of vengeance.
For wolf-demon Kari, these define her every waking moment. Her parents are dead, slaughtered by human hands, forcing their only daughter to masquerade among their killers to save her own skin. Now she dwells among them, hiding her lightning-based abilities and plotting a terrible revenge, believing her schemes are all she's good for now. But when she discovers unexpected solace among a group of humans who look past her monstrous nature, Kari finds herself questioning everything. Her mission. Her dreams. Even the hatred festering in her heart.
Is it possible for a creature like Kari to find happiness in a world that despises her?
Or will the specters of her past force her down the path of vengeance in the end?
Valerie Storm was raised in Tucson, Arizona. Growing up, she fell in love with everything fantasy. When she wasn't playing video games, she was writing. By age ten, she began to write her own stories as a way to escape reality. When these stories became a full-length series, she considered the path to sharing with other children & children-at/heart looking for a place to call home.
Twitter @Valerie_Storm
Books, Cover Reveal, fantasy, young adult