text:
package com.firebase.ui.database;

import android.arch.lifecycle.Lifecycle;
import android.arch.lifecycle.LifecycleOwner;
import android.arch.lifecycle.OnLifecycleEvent;
import android.support.annotation.NonNull;
import android.support.v7.widget.RecyclerView;
import android.util.Log;

import com.firebase.ui.common.ChangeEventType;
import com.google.firebase.database.DataSnapshot;
import com.google.firebase.database.DatabaseError;
import com.google.firebase.database.DatabaseReference;

/**
 * This class is a generic way of backing a {@link RecyclerView} with a Firebase location. It
 * handles all of the child events at the given Firebase location and marshals received data into
 * the given class type.
 *

 * See the README
 * for an in-depth tutorial on how to set up the FirebaseRecyclerAdapter.
 *
 * @param <T>  The Java class that maps to the type of objects stored in the Firebase location.
 * @param <VH> The {@link RecyclerView.ViewHolder} class that contains the Views in the layout that
 *             is shown for each object.
 */
public abstract class FirebaseRecyclerAdapter<T, VH extends RecyclerView.ViewHolder>
        extends RecyclerView.Adapter<VH> implements FirebaseAdapter<T> {
    private static final String TAG = "FirebaseRecyclerAdapter";

    private final ObservableSnapshotArray<T> mSnapshots;

    /**
     * Initialize a {@link RecyclerView.Adapter} that listens to a Firebase query. See
     * {@link FirebaseRecyclerOptions} for configuration options.
     */
    public FirebaseRecyclerAdapter(@NonNull FirebaseRecyclerOptions<T> options) {
        mSnapshots = options.getSnapshots();

        if (options.getOwner() != null) {
            options.getOwner().getLifecycle().addObserver(this);
        }
    }

    @Override
    @OnLifecycleEvent(Lifecycle.Event.ON_START)
    public void startListening() {
        if (!mSnapshots.isListening(this)) {
            mSnapshots.addChangeEventListener(this);
        }
    }

    @Override
    @OnLifecycleEvent(Lifecycle.Event.ON_STOP)
    public void stopListening() {
        mSnapshots.removeChangeEventListener(this);
        notifyDataSetChanged();
    }

    @OnLifecycleEvent(Lifecycle.Event.ON_DESTROY)
    void cleanup(LifecycleOwner source) {
        source.getLifecycle().removeObserver(this);
    }

    @Override
    public void onChildChanged(@NonNull ChangeEventType type,
                               @NonNull DataSnapshot snapshot,
                               int newIndex,
                               int oldIndex) {
        switch (type) {
            case ADDED:
                notifyItemInserted(newIndex);
                break;
            case CHANGED:
                notifyItemChanged(newIndex);
                break;
            case REMOVED:
                notifyItemRemoved(newIndex);
                break;
            case MOVED:
                notifyItemMoved(oldIndex, newIndex);
                break;
            default:
                throw new IllegalStateException("Incomplete case statement");
        }
    }

    @Override
    public void onDataChanged() {
    }

    @Override
    public void onError(@NonNull DatabaseError error) {
        Log.w(TAG, error.toException());
    }

    @NonNull
    @Override
    public ObservableSnapshotArray<T> getSnapshots() {
        return mSnapshots;
    }

    @NonNull
    @Override
    public T getItem(int position) {
        return mSnapshots.get(position);
    }

    @NonNull
    @Override
    public DatabaseReference getRef(int position) {
        return mSnapshots.getSnapshot(position).getRef();
    }

    @Override
    public int getItemCount() {
        return mSnapshots.isListening(this) ? mSnapshots.size() : 0;
    }

    @Override
    public void onBindViewHolder(@NonNull VH holder, int position) {
        onBindViewHolder(holder, position, getItem(position));
    }

    /**
     * @param model the model object containing the data that should be used to populate the view.
     * @see #onBindViewHolder(RecyclerView.ViewHolder, int)
     */
    protected abstract void onBindViewHolder(@NonNull VH holder, int position, @NonNull T model);
}


text:
const stratifiedLayeredOpts = {
  name: 'klay',
  klay: {
    borderSpacing: 10,
    separateConnectedComponents: false,
    thoroughness: 1000,
    compactComponents: false,
    spacing: 60,
    edgeSpacingFactor: 0.5,
    layoutHierarchy: false
  },
  nodeDimensionsIncludeLabels: true
};

export default stratifiedLayeredOpts;

redpajama_set_name: RedPajamaGithub


text:
Just One Evil Act by Elizabeth George ~ A Book Review
I've been an avid reader of Elizabeth George's mysteries since the aristocratic police investigator, Inspector Thomas Lynley, and his unkempt, authority adverse partner, Barbara Havers, were first introduced in A Great Deliverance in 1988. Although American, Ms. George has for the most part of 25 years been my favorite author of British mysteries after P.D. James. This affection for the Lynley mysteries has been quelled since the publication of What Came Before He Shot Her, George's attempt at arguing the poverty excuse for the ne'er do well who killed the beloved character, Helen Lynley. That book was nearly unreadable and the beginning of the end for me.
Out of habit, eternal hope or stubbornness, I've continued to give each new installment a try. I've read all 18. Just One Evil Act may be the death knell for my continued readership. The Lynley novels have, for me, been about the character development and in Just One Evil Act, none of the long beloved characters act true to the personas that have been developed over 25 years and 18 books. Not in one's most wild imagination would Thomas attend a roller derby match (at least not more than once on a lark); Barbara Havers would not aid & abet malfeasance; and the other major players would never proceed as described in this book.
If Just One Evil Act were one's first Lynley book, these critiques would not matter. My issues with the story arise from my lengthy relationship with these characters and the careful characterizations that have been developed over the years. While I can understand that Ms. George may have felt the need to shuffle things up a bit, the series began its slide when Helen was murdered a mere six months after finally marrying Tommy and has not been able to recover. While the overly long book is readable, it was not enjoyable for me.
40 Attributes to Cultivate for Living a Positive Focused Life
As 2013 comes to a close it is time to focus on the New Year and the changes in attitude that will make 2014 a year filled with joy and positivity. The power to change is within each of us and in most cases, changing one's attitude is the way to achieving peace and serenity. I plan to focus on cultivating and/or maintaining the following in my life:
1. Abundance
3. Appreciation
4. Beauty
5. Balance
8. Gratitude
9. Generosity
10. Happiness
11. Calm
13. Serenity
14. Joy
15. Wonder
16. Kindness
17. Openness
18. Optimism
19. Spirituality
20. Healthfulness
21. Prosperity
22. Strength
23. Fulfillment
24. Belief
25. Bounty (not the paper towels)
26. Success
27. Tranquility
28. Confidence
29. Energy
30. Vitality
31. Courage
32. Positivity
33. Self-worth
34. Awareness
35. Receptiveness
36. Compassion
37. Patience
38. Enthusiasm
39. Creativity
40. Wisdom
A Practice to Deceive by Ann Rule ~ A Book Review
Ann Rule never disappoints! Her true crime stories read like the most convoluted mysteries and clearly exhibit that life is stranger than fiction. Only the most creative of writers could make this stuff up.
A Practice to Deceive finds Rule true to form. The research is excellent and I like Rule's writing style. While I did not find this book as intriguing as her best, it is still a good read. My main critique of this story is the victim was not particularly likeable nor the villains particularly heinous. It is the people that make a story compelling and this book lacked fascinating characters. That being said, the murder of Russ Douglas and the lengthy investigation into his death makes an interesting story.
December 27, 2003 off a remote road on Whidbey Island in Washington State, a man was found slumped over the steering wheel of his bright yellow GEO tracker with a bullet between the eyes. The victim's estranged wife Brenna does not appear to be distraught by her husband's death. But there is no apparent motive.
And the murder weapon is missing.
The investigation into the death of Douglas takes years; but ultimately, police track the murderer because of one dumb mistake.
Posted by Vivian Harrington at 11:34 AM No comments:
Coldwater by Diana Gould ~ A Book Review
Coldwater is a dark thriller that begins with a coke and alcohol addicted writer of a successful detective television series committing vehicular homicide and leaving the scene of the accident. This is the catalyst of Brett Tanager's spectacular spiraling downfall from the heights of the Hollywood elite to the depths of despair, guilt and loss.
Gould's portrayal of Tanager as an addict plunging to her bottom is stark and realistic. It is clear that Gould has seen closely the effects of addiction and the torment of a tortured soul.
Even within the depths of her degradation, Tanager finds herself drawn into an investigation into the disappearance of a privileged teen, the daughter of a Hollywood mover & shaker and her former step daughter's best friend.
This novel has it all – the glitz and glamour as well as the dirty underbelly of the entertainment industry.
Coldwater is a great, page-turning read that calls to mind Elmore Leonard and the earlier books of James Patterson.
Remembering Christmas Eves of Long Ago
Christmas Eve was a magical time during my childhood in the 1960's. This was a time before Christmas became such a commercial, secular holiday with the seasonal focus on rampant commercialism; when children received gifts only for Christmas and birthdays; when people bought something when they needed it and purchased new clothes for a special occasion or the start of the school year or at the semi annual shoe sale.
Every year as long as I can remember our family traipsed down the block from our house to that of my grandparents, who lived on the corner across the street from the rectory of St. Bridget's Church in Logansport, Indiana to enjoy Christmas Eve dinner. Sometimes dinner was served on my grandmother's pre-war Noritake china, which I used for Thanksgiving this year. The meals I remember most vividly are those of the spaghetti served on my aunt's pink /black square bake-lite dishes, pull apart rolls, and servings of cranberry relish. Our local relatives surrounded the drop-leaf table. In the earliest years, seated around the table would be my grandparents, my mother's sister, Aunt Kate (who always had Hershey bars and Archway cookies and long yellow fingernails from nicotine), Uncle Mart, Aunt Lerna, and Marguerite and Al from across the alley who had a beautiful white dog that barked a lot and a Victorian gazing ball in their back yard.
After dinner my parents piled us into the car and we drove around the town looking at the outdoor Christmas decorations. We always looked forward to seeing one house in the county that put on a show worthy of Clark Griswold, long before extravagant or excess became the norm. Then we returned to my grandparent's house to find Santa had been to visit, depositing an abundance of treasures, such as my first Barbie (the Barbie with the 3 wigs) and Chatty Kathy (who spent a great deal of time at the doll hospital). We always wondered with awe how Santa knew we would be visiting grandma & grandpa? My aunt filmed all of the glamour in state of the art 8mm! And we thought it was an amazing treat to watch the previous year's movies with the sound of the projector churning to the jerky movements on the screen.
These are still the warm & joyous memories of childhood. We felt so truly blessed to have two Christmas celebrations. For after we left our Christmas Eve extravaganza, we headed home, were tucked into bed, and waited with excitement and anticipation for that second visit from Santa Claus on Christmas morning.
As Bob Hope used to sing at the conclusion of every TV special ~Thanks for the Memories.
40 Attributes to Cultivate for Living a Positive F...
My Mom Is An Inspiration ~ Laughter, A Positive At...
Hooked on Sephora – My Current Obsessions
Pearls Before Swine, Diamonds, Rubies, or Sapphires~
With Few Exceptions TV is The Vast Wasteland
It's Time To Stop the Princess Myth & the Focus on...
Whispers of Vivaldi, A Tito Amato Mystery~ by Beve...
Nostalgia – The Wonderful Department Stores of Yore!
Real Healthcare Reform Requires Changing Our Attit...
The Venetian Bargain by Marina Fiorato, A Book Review

redpajama_set_name: RedPajamaCommonCrawl


Lot 3, .9851 Acres Commercial Lot in The Lake District Commercial Development.
The Lake District Development is a master planned community located in one of the fastest growing areas in Alexandria, Louisiana. Easy access to The Lake District Development from Versailles Boulevard which stretches from Highway 28 West to Jackson Street Extension. Underground utility services to insure the highest quality of lifestyle for residents and professionals. Street lights and sidewalks along the Versailles Boulevard corridor. Covenants/Restrictions are in place to protect and enhance the development.


Welcome to our Zoning experts directory. Browse the profiles below to find the right expert witness in Zoning for your case. Our SEAK Expert Witness Database is always free to search.
Jeffrey E Bartrem, C.B.I. Professional Inspection Consultants, Inc.


Image Title: Pin By Roberta De Oliveira On Dinning Room Ideas Pinterest For Shades Bay Windows Plans 1. Post Title: Shades For Bay Windows. Filename: pin-by-roberta-de-oliveira-on-dinning-room-ideas-pinterest-for-shades-bay-windows-plans-1.jpg. Image Dimension: 406 x 388 pixels. Images Format: jpg/jpeg. Publisher/Author: Richard Mayert. Uploaded Date: Saturday - October 13th. 2018 06:06:06 AM. Category: Design. Image Source: hgtv.com. Ideas For Treating A Bay Window BeHOME Blog In Shades Windows Prepare 3. Bay Window Blinds Wide Home Ideas Collection For Shades Windows Designs 18. Bay Window Coverings Carolina Blind Crafters With Regard To Shades For Windows Plans 8. Accentuate The Beauty Of Your Bay Windows With Right Window Pertaining To Shades For Designs 12. The Ultimate Guide To Blinds For Bay Windows Finishing Touch Intended Shades Plans 5. Ideas For Bay Window Treatments The Shade Store With Regard To Shades Windows Idea 2. Wonderful Design Shades For Bay Windows Ideas Curtains In Idea 19. Bay Window Shade Budget Blinds Windows Pleated Shades With Regard To For Ideas 11. How To Measure A Bay Window For Blinds Factory Direct Regarding Shades Windows Decor 9. Window Treatments For Bay Windows To Consider Within Shades Intended Remodel 4.


text:
The author's gesture:
the camera as a body in Wong kar-wai's In the mood for love
Jake Ivan Dole
In an early scene of Wong Kar-wai's In the Mood for Love (2000), Li-zhen (Maggie Cheung) arrives at the apartment of neighbor Mo-wan (Tony Leung) to return a martial arts series. She is greeted by landlady Mrs. Suen and enters the room from the corridor to continue the conversation. Paradoxically, the camera that initially frames Li-zhen does not follow in her footsteps, but lingers in the corridor for an additional 14 seconds before a cut inside the room ensues. Originally positioned to Li-zhen's right and by the side of the apartment's door frame, the camera retreats subtly to the right, as if demonstrating an unwillingness to commit to Li-zhen's goal (see clip below).
http://videos.criticalcommons.org/transcoded/http/www.criticalcommons.org/Members/thecinefiles/clips/li-zhens-visit/video_file/mp4-low/moodclip-avi.mp4
Li-zhen's visit (In the Mood For Love, Wong Kar-Wai, 2000) via criticalcommons.org
The camera's lingering nature is surprising if one views the scene with a conventional frame of mind, because one will tend to expect the camera, as a formal component, to concern itself with the salient elements of the plot—Li-zhen and Mo-wan's affair. Instead the motion of the camera and the decision not to cut demonstrate a counter-intentionality by not following Li-zhen's enactment. The camera's autonomy invites us to consider it a living, conscious being.
Unconventionally motivated camera behavior is sometimes interpreted as signifying the director's artistic signature. André Bazin[1] and Alexandre Astruc[2] argued that film form is the language through which the artist expresses his thoughts and presence. When formal devices such as the camera are bared, and the narrational salience of classical storytelling is set aside, the director's creative presence is presumably brought to the fore.
Wong Kar-wai's camera work in In the Mood for Love has been discussed by scholars using a similar frame of reference, although more implicitly than explicitly. Nancy Blake attributes authorial emotions to the film's use of a slow motion camera, writing that the stylistic decision reveals "a desire to immobilize a fleeing reality, to make time stand still (although) the camera can only ever render an image."[3] Blake adds that "Wong's camera… lovingly dwells on Maggie Cheung, as she tries to come to an understanding of her husband's desire."[4] Here Blake combines thematic context and elements of style to infer a particular set of emotions to the mobility of the camera, which becomes an avatar for a perceiving, feeling artist. In another reading, Rey Chow interprets the author's pervasive gaze by reference to thematic content, style and socio-cultural context. She reveals that the setting of the film, Hong Kong in the 1960s, is a place of Wong's childhood "remembered in oneiric images" that are "mediated by a particular consciousness."[5] Chow therefore attributes a nostalgia to the film's mise-en-scène, a sensation projected by Wong's mobile presence.
Wong's camera also demonstrates a seeming corporeality, a physiology. In addition to its subtle resistance towards narrative goal-orientation, the camera lacks regimented motivation. It moves with subtle, and at times uncertain, intentions. The author we infer here is not only a social, formal or narrational construct, but furthermore a bodily one. The view of the camera as a corporeal presence was perhaps most finely articulated by Vivian Sobchack, who argued for an understanding of camera movement as an implicitly embodied subject—as an other who sees and expresses perception, and participates with the surrounding world.[6] Sobchack writes that "camera movement echoes the essential motility of our own consciousness as it is embodied in the world and is able to accomplish and express the tasks and projects of living." In other words, the camera is bodily in that it engages with the visual field, other bodies and objects in space, in a manner that compares with our own. It can perceive a range of tactile possibilities, direct itself towards objects and bodies, and make contact with objects and bodies.
Consistent with this thinking, whenever a camera is shown to project itself forward and towards an object, it enacts a familiar disposition and sensorimotor act—an intentionality that is satisfied through the movement of the body. This type of movement might communicate something narratively significant within a scene, but could also generate empathetic attachment on the basis of bodily identification. Recent approaches in cognitive film studies have sought to couple the study of the sensing body and the sensorimotor experience (movement), with that of the cognitive activity of viewers.[7]
For example, in a case study of a scene from Alfred Hitchcock's Notorious (1946), Vittorio Gallese and Michele Guerra argued that imagery of camera movement could induce in the viewer the imaginative sensation of motor mimicry within particular narrative contexts. When the film's heroine Alicia (Ingrid Bergman) looks off-screen, the scene cuts to a tracking shot that approaches a desk on top of which lies a stack of keys.[8] Earlier, with the aid of a flashback, it is established that Alicia intends to and succeeds in stealing the keys. The authors argue that when the forward tracking shot occurs in real time, Hitchcock's camera simulates the forward motion of a body as it proceeds towards an object of the character's desire, prepared to grasp it.[9] Through a combination of physiology (camera's forward movement), additional stylistics (such as cutting) and narrative context, viewers are invited to experience the movement and urge for tactile contact through Alicia's point of view. Scholars in embodied cognition refer to this effect of motor mimicry as embodied simulation, which occurs when bodily enactments are observed by the viewer within her visual field and are resonantly felt through his or her still body. In the case of this scene, narrative context also nudges the viewer to associate the camera's physiology with that of the heroine.
The missing element within this Notorious case study, however, is socio-cultural context. Gallese and Guerra analyze the sequence based on stylistics, narrative and physiology, and present an effective argument. However the notion of an author's body represented by the avatar of the camera is a generally understood social construct that has roots in the ideas of Bazin and Astruc, as well as Dziga Vertov.[10] To fully understand Wong's camera as his body requires not only reference to its manner of movement (its physiology), or its narrative and stylistic function, but also additional reference to socio-cultural interpretive frames that the film projects and the viewer construes. And in order to fully appreciate the viewer's conception of an author's body (and projected emotions like "desire"), we need an approach that is epistemologically pluralistic.
In In the Mood for Love, Wong's camera invites to be seen as a body and convinces as one for the following reasons: A) its physiology is visibly corporeal because it enacts particular bodily intentions and dispositions; B) it performs a narrative role that is consistent with pervasive cultural and theoretical assumptions about authors, directors and artists; C) the film's setting and mise-en-scène function to prompt in certain viewers particular associations that can also be attributed to the camera's movement; and D) certain viewers' familiarity with Wong Kar-wai's background will also affect their understanding of the camera as the author's body. Altogether, the more of these categories are satisfied in the viewing process, the more likely it is that the viewer will accept its role as that of an authorial body and presence. By representing himself via a camera, Wong invites the viewer to intersubjectively attend the film's themes and imagery through his sensing and perceiving body.
The Camera's Physiology
Anthropomorphic functions are frequently attributed to the camera in critical and academic writing, but with varying degrees of specificity. For example, David Bordwell commonly refers to steadicam and virtual motions of the camera in contemporary Hollywood as prowling, a verb that evokes the stealthy movements of a predator.[11] However describing the camera in this way does not necessarily mean that one thinks of it as a body, nor that one is embodied by it. In order to establish an intersubjective relation between the viewer and the camera, there is a need for some clarity about the types of bodily cues (to borrow Gallese's and Guerra's term) that can be evoked by a camera and when.[12]
Studies in embodied cognition and cognitive neuroscience about cinema inform that the viewer's cognitive activity (e.g., story inference) is closely tied with the body's interaction.[13] In the process of watching a movie, the viewer's body is activated in numerous ways, including the process of perceiving and reacting to bodies of on-screen characters. The perceptual encounter with on-screen bodies largely depends on a measure of "action understanding," which ensues when the viewer observes intentional, goal-oriented actions.[14] In other words, by seeing certain kinds of enactments performed by characters' bodies, viewers emulate them in their active minds while the physical body remains still—what is normally termed as embodied simulation. Due to the presence of mirror neurons in the brain, the act of observing an action leads the observer's brain to activate the same neural mechanisms that are normally trigged by performing the action oneself. Therefore a scene that shows a familiar intentional gesture, such a character squeezing a door handle, will trigger a response on the part of the viewer due to the inherent familiarity of the sensation.
Embodied simulations of this kind function without much strain or reflection, whereby we internalize the actions we see.[15] Most of the time, we are not aware of the fact that we do so, meaning that the simulations we run in our minds are virtually invisible, or transparent, in their overlap with our conscious, reflective mental faculties. The feeling of the body therefore manifests itself nonconsciously, as second nature.[16]
In order to think of a camera as a body, we need to consider whether its movements can effectively perform actions and dispositions that would elicit action understanding, and lead to embodied simulation. It is important then to demonstrate that the camera can enact goal-oriented movements and draw itself into intentional relations with surrounding space, in a manner that compares with a perceiving body. What then are the "bodily, tactile cues," to use Gallese and Guerra's words, that can be activated by a camera, and in this case by Wong's camera specifically?[17]
I suggest that we can look at camera movements in terms of particular action-based image schemas, which are basic abstractions from the body. Warren Buckland writes that schemata "represent the body in the mind, and make reasoning possible by providing a context for reasoning to operate."[18] Schemata then are mental structures that develop from fundamental bodily experience, and include examples like up-down, back-front, centre-periphery, part-whole, inside-outside, among others. Furthermore, basic action concepts such as grasp, put in, take out, crawl and hit get their meaning from our bodies and our ability to imagine enacting such tasks.[19] The mirror neuron system enables every person to imagine acts like grasping and crawling, and is the very same capacity by means of which the viewer can simulate the actions of characters in the visual field. This prompts the question—how can the camera cue particular action structures in a convincingly bodily way?
We must admit that the camera can neither grasp, nor demonstrate apparent hand- or arm-based enactments in the conventional sense. One of the challenges in assigning the camera a sensorimotor role is its seeming lack of limbs and thus a limited capacity for transitive movement. Nevertheless, in the scene of Li-zhen's visit, Wong's camera communicates an action concept: it conceals itself slightly behind a wall. In fact, the camera's tendency for concealment can be observed numerous times throughout the film, whereby it is seen positioning itself behind objects that partially block its view of the main line of story action. Viewers might be inclined to think of the camera as a lurking observer, perhaps shy or even voyeuristic, and periodically distracted. This type of inference results from encountering a familiar disposition of bodily concealment behind an object or barrier.
While certain objects conceal the camera's view, others serve as temporary points of attention. Throughout the film, Wong's camera is seen periodically readjusting, losing and regaining attention on objects in space. In doing so, the camera is almost never still, which communicates a seemingly drifting attention span. Even in his use of close-ups Wong slowly pans the camera, thereby subtly guiding the viewer's perception towards its own movement. A couple of early close-ups in the film—that of a gift-wrapped box and a stack of books—are presented to the viewer for several seconds at a time and are ambiguous in terms of their narrative motivation, leading one to assume that the objects might be deeply, perhaps symbolically, meaningful to the author himself (See figures 1 and 2).
Figure 1: A gift-wrapped box. In the Mood for Love (Wong, 2000)
Figure 2: A stack of books. In the Mood for Love (Wong, 2000).
I propose that we can explain the close-ups from the embodied perspective: the objects have canonical affordances. Scholarship on embodied cognition has pointed out that, in certain instances, the mere act of looking[20] at a manipulable object can anticipate potential action.[21] Manipulable artifacts are those objects whose function anticipates guided action. For example, tools (e.g., a hammer) are meant to be grasped, a door handle is meant to be turned or squeezed, a button is meant to be pushed, etc.[22] Wong's close-ups, due to their persistent tendency for movement, emulate the camera-body's potential approach, and prompt the urge to reach out, touch the book and the box, and perhaps even unwrap the paper. In other words, the objects do not necessarily have to be understood in terms of their independent symbolic function, but rather as elements at hand—within the visual range and reach of a perceiving, mobile body. In stressing the mobile body's perceiving role, Wong activates another familiar bodily disposition of proximity.
A somewhat similar disposition of proximity is evoked in Alfred Hitchcock's Marnie (1964). In one climactic scene, the film's eponymous heroine is seen stealing several wads of cash from the company safe and, in order to slip out unheard by the cleaning lady, she removes her shoes and quietly walks towards the exit. Hitchcock uses editing and close-ups to effectively draw the viewer's range of knowledge onto one of the shoes as it gradually begins to slip from Marnie's pocket. The intensity of the close-ups, combined with the disconnect between the viewer's range of knowledge with that of the character, generates much of the scene's suspense. However, a crucial component of the scene is also physiological: the close-up cues the viewer's understanding of bodily proximity and the tactile familiarity with the manipulable artifact in the visual field. In other words, the close-up teases the viewer's inclination to want to grasp the shoe and place it back into Marnie's pocket (see clip below).
http://videos.criticalcommons.org/transcoded/http/www.criticalcommons.org/Members/thecinefiles/clips/marnies-shoe/video_file/mp4-high/marnieclip-avi.mp4
Marnie's shoe (Marnie, Hitchcock, 1964) via criticalcommons.org
The crucial difference, however, between Hitchcock's scene and Wong's close-ups is that In the Mood for Love places visual emphasis on both the object and the perceiving, moving subject. The movements of Wong's camera often communicate intentions that are removed from the plot's salient lines of action. This camera's autonomy from classically motivated duty therefore draws the viewer's eye to its own bodily mode of orientation in relation to the object. Although the Marnie scene will effectively trigger the viewer's muscle memory in relation to the shoe, the camera in the scene, and throughout the film, is either static or committed to following the character.
The Author's Expressivity
It is therefore possible to determine instances in which a camera can convey bodily intentionality, even in cases where its point of view does not belong to a character in the story. However attributing this body to the author's point of view requires that the viewer make narrative and socio-cultural inferences as well. This includes narrative and genre expectations, general knowledge about authors and artists, as well as possible background knowledge about the director of the film.
Those who view In the Mood for Love as an art film will be inclined to see the camera's counter-intentional movements as reflective of an authorial signature. The film's key line of action, Li-zhen's and Mo-wan's affair, and certain activities of characters on-screen are periodically set aside in certain scenes. For example, during a brief scene in Mr. Ho's office, the camera directs itself askew of the characters. At first we see Li-zhen speak on the phone, hang up and turn her body, but the camera ignores her movement and instead chooses to wander around the office, paying attention to various objects. Within the frame of expectations of classical cinema, Wong's camera breaks with stylistic salience and demonstrates an alternative autonomy to that of the narrative. In such instances one is inclined to look at the author as the cause of the disturbance.
Per David Bordwell, works that subvert classical conventions of storytelling and style can be understood through the interpretive frame of "authorial expressivity,"[23] whereby the auteur (usually the director) imposes on the work through his or her "overriding intelligence."[24] Such interpretations do not simply draw on the formal and physiological evidence, but are in fact culturally constructed. We tend to think of auteurs as somewhat manipulative, even arrogant, beings who wish to do more than simply tell a story. For example, we know that Jean-Luc Godard imposed his artistic signature on À bout de souffle (1960) by subverting classical continuity through jump cuts. Similarly, Alfred Hitchcock at times used a mobile camera to direct the viewer's attention away from narrative salience, like in the case of Frenzy (1972) where his tracking camera abandons Robert Rusk and his victim by leaving the corridor of a building.
Thus whenever Wong's camera subverts classical expectations by tracking or panning away from a line of action, the viewer will be inclined to attribute this behavior to the director, Wong. However unlike À bout de souffle, Wong's intervention is both bodily and physiologically relatable—it enacts familiar dispositions. We can empathize with the author's presence in the work through embodied simulation. Godard's jump cuts do not offer the same kind of immediacy to the viewer's experience. His body is absent and the resulting affect is minimal. Although we can read authorial expressivity to these formal devices, they do little to cue bodily engagement.
Conversely, Wong's camera activates cognitive and physiological responses at the same time, requiring that the viewer relate back to cultural and narrative context in order to make sense of what the camera does. Cognitive scholars like Maarten Coëgnarts and Peter Kravanja,[25] as well as Adriano D'Aloia and Ruggero Eugeni, stress that bridging the study of the body with that of cognition is necessary in order to accurately account for the viewer's experience.[26] Whenever the author's presence is enacted through a body, and is absorbed and interpreted as such by the viewer's body-brain system, what ensues is a mode of sensorimotor identification that has been typically haphazardly understood (for example, when ignoring socio-cultural and narrative context).
Furthermore, the ordinary understanding of authorship tends to evoke bodily metaphors. If I were to say that Wong manipulates or shapes his film's imagery through the use of the camera, I would be referring to fairly routine terms of reference. However these terms also inscribe a bodily projection, by leading us to imagine the author's activity through sensorimotor imagery, specifically action concepts like shaping, manipulating and molding. Cognitive linguist Mark Turner made this type of observation when writing about the use of sensorimotor imagery in the writings of Marcel Proust, whose prose often relates the body to the narrator's experiences.[27]
In the opening volume of À la recherche du temps perdu (1913), Proust recalls his youth by conceptualizing his memories through action concepts. He writes, "My mind, striving for hours on end to break away from its moorings, to stretch upwards so as to take on the exact shape of the room and to reach to the topmost height of its gigantic funnel, had endured many a painful night."[28] Proust, the author and narrator, recalls his dream by physically shaping it with his body, stretching his joints to extend his body up and then reaching, perhaps with an extended arm. The imagery is extremely vivid due to the specificity of the body's intentional movements and the detail of the prose.
Turner terms such bodily projections through the concept of the thinker as a mover and manipulator (otherwise termed THINKER IS A MOVER AND A MANIPULATOR in all caps).[29] A fictional work about a narrator's journey of the soul is often understood in terms of such a projection, whereby the experience of conjuring a memory or constructing an imagined space is made to be figuratively corporeal. Unlike literature, movies create visual conditions for embodied simulation, but like literature they also rely on the viewer's understanding of many such unspoken cultural conventions that are stored in the recesses of our minds. Thus, in addition to being known as sources of an overriding intelligence, authors (like thinkers and like storytellers) tend to impose themselves on their work physically and, in doing so, place their readers and viewers into frames of embodied identification.
The resulting effect is different than that of a point of view shot or other kinds of identification with characters. The author's grasp transcends the diegetic limits of the story, and demonstrates a seemingly unlimited power to manipulate the work's formal contours. Therefore, to identify with Wong's camera as the author's body means to engage with the film in a metafictional way, whereby the film becomes the author's raw materials at hand, while the viewer is made to feel the manipulation of that material with his or her body.
The Body in the Setting
Existing scholarly interpretations of In the Mood for Love tend to see Wong Kar-wai's presence in the film as that of a nostalgic, somewhat Proustian, dreamer who meditates on his past. The distracted camera and its fascination with objects is interpreted by some writers in relation to the film's setting, a 1960s Hong Kong of the director's childhood.
For example, Nancy Blake refers to the film's camera as voyeuristic, due to the aforementioned tendency for concealment as well as Wong's background.[30] Rey Chow uses a similar frame of reference when she describes Wong's attention to the mise-en-scène as dream-like and nostalgic.[31] Blake[32] and Pam Cook[33] write that viewers who share Wong's cultural and generational background are likely to remember 1960s Hong Kong as a country that underwent a transformative transition towards capitalism. Wong's desire to recreate a non-recoupable time and place of his childhood memories is also documented by Cook, and thus explains his decision to draw the viewer's attention to memorabilia and period styles. The ordinary household items that are emphasized in the film through the stylistic decisions of panning the camera or cutting to a moving close-up, take on a meaningful resonance in light of this cultural context. Cook adds that the film is "littered with memories of personal significance," producing "a kind of meditation on the passage of time."[34]
Therefore to viewers who share or know about Wong's background, a bodily identification with the camera resonates more greatly due to this shared history and memory. The camera's disposition towards objects, manipulable or otherwise, begins to evoke particular emotions. The invisible, distracted witness thereby invites that viewer to share a journey and relive familiar objects, colors and textures through his or her body. Wong thus places his avatar camera into a state of intersubjective relations with the viewer, and even more deeply with viewers who share this historical memory.
Chow writes that "for audiences already acquainted with the Hong Kong of the 1960s, these ethnographic details arguably constitute a kind of already-read text, one that evokes… the sense of community that has been but no longer is."[35] Blake echoes this insight when she writes that the camera "reflects a desire to immobilize a fleeing reality, to make time stand still, an effort to understand."[36] The word "desire" here is not simply used in a psychoanalytic way, but in an effort to articulate the same basic state of emotions discussed by Chow. Both scholars reflect on the respective roles of the camera and the mise-en-scène in relation to cultural memory, but only loosely make the connection between cognition and physiology. To me, this connection appears to be quite crucial, because the empathetic experience constructed by Wong here is based on the congruence of styles and the reactions they are meant to evoke. The film's meditative experience is first made possible due to the bodily presence of a meditator (the camera) who actively and intentionally explores the film's spaces with his body. The viewer's cognitive inferences (about authors and cultures) fill in the rest of the information and appropriate emotional meaning (such as nostalgia or desire).
Therefore, Wong's camera can be grasped within a pluralistic understanding of cinematic empathy, whereby bodily physiology, narrative context and socio-cultural knowledge (of the setting and the author) overlap to produce a desired emotional response.
To quote D'Aloia and Eugeni, embodied cognition stresses that the viewer's cognitive activity depends on those experiences "that come from having a body with various sensorimotor capacities (that) are themselves embedded in a more encompassing biological, psychological and cultural context."[37] In other words, in order to understand cinematic empathy, we need to consider the overlap between the viewer's physiology and cognitive activity in relation to both narrative and socio-cultural contexts. Up to this point, it has been fairly common to discuss the camera as a body while concentrating on physiology (e.g., Vivian Sobchack's work). Conversely, traditional cognitive scholarship sometimes sidesteps issues of the body in favor of activity of pure narrative inference (as documented by D'Aloia and Eugeni). Within both approaches, it is not uncommon for socio-cultural context to be left out entirely. However this can be remedied with a more pluralistic approach that sees these different components as mutually inclusive.
With these various factors in mind, we can look at camera work in a film like In the Mood for Love as a convincing representation of an author's body, whose perspective the viewer is positioned to simulate. Although it is normal to think of the author as a cultural construct, particularly in light of theories that push against notions of an auteur, I believe that particular formal inscriptions (such as ways of moving the camera) can create absorbing conditions for intersubjective embodiment. In Wong's film, the camera's bodily actions cue the viewer's physiological response, which prompts cognitive inferences based on narrative comprehension and socio-cutural understanding. Even though one cannot isolate the author strictly within the camera (as a physical thing or as a visual manifestation), its movement inscribes a body and creates the conditions within which the viewer can flesh out a relationship with the meditating author. Within this understanding, Wong's camera lays a foundation within which an experience of intersubjective attending, emoting and feeling is made possible.
Jake Ivan Dole is a PhD candidate in Moving Image Studies at Georgia State University, where he researches embodiment with visual media by combining phenomenological, cognitive and historical approaches.
1 David Bordwell. Making Meaning (Harvard University Press, 1991), 45.
2 Alexandre Astruc, "The Birth of a New Avant-Garde: La Caméra-Stylo," in Peter Graham, ed., The New Wave (Garden City, N.Y.: Doubleday, 1968), 20.
3 Nancy Blake. ""We Won't Be Like Them": Repetition Compulsion in Wong Kar-wai's In the Mood for Love." The Communication Review 6, no. 4 (2003): 352.
4 Ibid., 349.
5 Chow, Rey. "Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-wai." New Literary History 33, no. 4 (2002): 648.
6 Vivian Sobchack, "Toward Inhabited Space: the Semiotic Structure of Camera Movement in the Cinema," Semiotica 1, no. 4 (1982): 317.
7 Ruggero Eugeni and Adriano D'Aloia. "Neurofilmology. An Introduction." (2014): 11.
8 Vittorio Gallese and Michele Guerra. "Embodying Movies: Embodied Simulation and Film Studies." Cinema: Journal of Philosophy and the Moving Image 3 (2012): 200.
10 Soviet filmmaker Dziga Vertov theorized about camera work through the concept of the kino-eye, a mechanical eye, as an extension of the body which, at the same time, could surpass bodily limitations. In his writings, he sometimes used anthropomorphic terms to describe the kino-eye's movements, such as when he writes "I draw near, then away from objects, I crawl under, I climb onto them." See Vertov, Dziga. Kino-eye: the writings of Dziga Vertov (Univ of California Press, 1984), 17.
11 David Bordwell. "Intensified Continuity Visual Style in Contemporary American Film." Film Quarterly 55, no. 3 (2002): 23.
12 Vittorio Gallese and Michele Guerra. "The Feeling of Motion: Camera Movements and Motor Cognition." Cinema & Cie 14, no. 22-23 (2014): 106.
13 Maarten Coëgnarts, and Peter Kravanja. "Film as an Exemplar of Bodily Meaning Making." in Maarten Coëgnarts and Peter Kravanja ed., Embodied Cognition and Cinema (2015): 17.
14 Gallese and Guerra, "The Feeling of Motion," 108.
15 Gallese and Guerra, "Embodying movies," 200.
16 Mark Johnson. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason (University of Chicago Press, 2013), 74.
18 Warren Buckland. "Cognitive Semiotics Revisited: Reframing the Frame." in Maarten Coëgnarts and Peter Kravanja ed., Embodied Cognition and Cinema (2015): 298.
19 Vittorio Gallese and George Lakoff. "The Brain's Concepts: The Role of the Sensory-motor System in Conceptual Knowledge." Cognitive Neuropsychology 22, no. 3-4 (2005): 456.
20 Alan Costall. "Canonical Affordances in Context." Avant III, no. 2 (2012): 91.
21 Shaun Gallagher. "Philosophical Antecedents of Situated Cognition." in Philip Robbins and Murat Aydede ed., The Cambridge Handbook of Situated Cognition (2008): 30.
22 Anna M. Borghi and Lucia Riggio. "Sentence Comprehension and Simulation of Object Temporary, Canonical and Stable Affordances." Brain Research 1253 (2009): 121.
23 David Bordwell. "The Art Cinema as a Mode of Film Practice." Film Criticism 4, no. 1 (1979): 57.
25 Coëgnarts, and Kravanja, "Film as an Exemplar of Bodily Meaning Making," 22.
26 Eugeni and D'Aloia, "Neurofilmology," 17.
27 Mark Turner. The Literary Mind: The Origins of Thought and Language (Oxford University Press, 1998), 44.
28 Marcel Proust. Remembrance of Things Past: Swann's Way, trans. C. K. Scott Moncrieff and Terence Kilmartin (Random House Inc., and Chatto & Windus, 1981), 8.
29 Turner, The Literary Mind, 44.
30 Blake, ""We Won't Be Like Them,"" 352.
31 Chow, "Sentimental Returns," 646.
33 Pam Cook. Screening the Past: Memory and Nostalgia in Cinema (Routledge, 2004), 4.


The Academy of Motion Picture Arts and Sciences has announced its shortlist of contenders for the best make-up Oscar.
The films in alphabetical order are: Apocalypto; Click; Pan's Labyrinth; Pirates Of The Caribbean: Dead Man's Chest; The Prestige; The Santa Clause 3: The Escape Clause; and X-Men: The Last Stand.
The Academy's Makeup Award Nominating Committee will view 10-minute excerpts from each of the seven shortlisted films on Jan 20. The three nominees will be unveiled on Jan 23.
The 79th Annual Academy Awards will take place in Hollywood on Feb 25.


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text:
Eisk template featuring asp.net mvc 5.0, entity framework 6.0.1 (code first), .net 4.5.1, visual studio 2013 etc.

[Live demo](http://eiskmvc.apphb.com/)


Get high among the rainforest trees along the elevated Walk with the Birds boardwalk, in Dorrigo National Park. This fully-accessible walkway, elevated above the forest floor, offers unique forest views and close-up birdwatching opportunities, near Bellingen on the NSW North Coast.
Far below, you might see brush turkeys raking litter for their nests or a lyrebird searching for insects. Among the branches, you could spot the stunning paradise riflebird with its glossy black and iridescent blue plumage, as well as fruit doves and green catbirds. Look for the information panels to learn more about the rainforest locals.
Enjoy a packed lunch at The Glade picnic area, and if you're feeling energetic, try nearby Wonga walk or Satinbird stroll. As night falls, listen for the 'mo-poke' call of the southern boobook owl or watch for ringtail possums emerging from their nests.


text:
art&fiction est une association créée en 2000 à Lausanne en Suisse. Elle gère les éditions art&fiction, spécialisées dans les livres d'artistes.

Historique
La maison d'édition est créée en 2000 à Lausanne par Stéphane Fretz et Christian Pellet. Elle ouvre une antenne en 2002 à Genève.

Depuis 2006, art&fiction produit et diffuse ses livres dans un lieu au centre de Lausanne offrant un programme d'expositions, de lectures, de concerts et de stages.

En 2007 un siège est établi à Genève, cette même année, art&fiction rejoint le réseau d'éditeurs indépendant R-diffusion à Strasbourg, ainsi que le Cercle des libraires et éditeurs de Genève. Dès 2008, la coproduction et diffusion de monographies est inaugurée, dans un premier temps en collaboration avec l'éditeur zurichois Niggli Verlag.

En 2010, le projet «Mode de vie» réunit 107 artistes pour une tournée d'expositions et une publication.

Collections
 Document
 ShushLarry
 Pacific
 Sonar
 Varia
 Monographies
 Re:Pacific

Principaux artistes et auteurs publiés
Pierre Aubert, Raphaël Aubert, Pascale Favre, Jérôme Stettler, Claudius Weber, Philippe Fretz, Alexandre Friederich,  Christine Sefolosha, Julia Sørensen, Frédéric Clot, Niklaus Manuel Güdel, Marcel Miracle, Tito Honegger, Stéphane Zaech, François Burland, Hubert Renard, Sarah Hildebrand, Zivo, Marisa Cornejo, Flynn Maria Bergmann, Alessandro Mercuri, Pierre Escot, Barbara Polla, Fabienne Radi, David Bosc, Laurence Boissier.

Distinctions
 2010 : Prix des Charmettes – J.-J. Rousseau  pour Au-delà Lisboa de Marcel Miracle.
 2015 : Prix Société Suisse des Beaux-Arts et visarte.suisse pour la diffusion d'art visuel en Suisse.
 2017 : Prix suisse de littérature pour Inventaire des lieux de Laurence Boissier
 2018 : Prix des lecteurs de la Ville de Lausanne pour Rentrée des classes de Laurence Boissier
 2018 : Prix Pittard de l'Andelyn pour Rentrée des classes de Laurence Boissier
 2020 :  pour l'Almanach ECART. Une archive collective, 1969-2019, coédité avec la Haute École d'art et de design Genève
 2022 : Prix suisse de littérature pour Émail Diamant de Fabienne Radi

Références

Liens externes

Maison d'édition ayant son siège en Suisse
Art à Lausanne

redpajama_set_name: RedPajamaWikipedia


text:
[![Maven Central](https://maven-badges.herokuapp.com/maven-central/io.fabric8/kubernetes-api/badge.svg?style=flat-square)](https://maven-badges.herokuapp.com/maven-central/io.fabric8/kubernetes-api/)
[![Javadocs](http://www.javadoc.io/badge/io.fabric8/kubernetes-api.svg?color=blue)](http://www.javadoc.io/doc/io.fabric8/kubernetes-api)

This library represents a Java [Kubernetes](http://kubernetes.io/) client API using JAXRS 2.0.

### Add it to your Maven pom.xml

To be able to use the Java code in your [Apache Maven](http://maven.apache.org/) based project add this into your pom.xml

            <dependency>
                <groupId>io.fabric8</groupId>
                <artifactId>kubernetes-api</artifactId>
                <version>2.2.101</version>
            </dependency>

### Try an example

If you clone the source code:

    git clone https://github.com/fabric8io/fabric8.git
    cd fabric8

And if you are running Kubernetes (e.g. [try run fabric8](http://fabric8.io/guide/getStarted.html)) so that $KUBERNETES_MASTER is pointing to the Kubernetes REST API then the following should work:

    cd components/kubernetes-api
    mvn clean test-compile exec:java

The Example program should start and list some pods.

### API Overview

You use the **DefaultKubernetesClient** to create an instance of [Kubernetes Client](https://github.com/fabric8io/kubernetes-client) which supports the [Kubernetes REST API](https://github.com/GoogleCloudPlatform/kubernetes/blob/master/DESIGN.md#kubernetes-api-server)

For example:

    KubernetesClient kube = new DefaultKubernetesClient();
    PodList pods = kube.pods().list();
    for (Pod pod : pods.getItems()) {
        String name = pod.getMetadata().getName();
        String ip = pod.getStatus().getPodIP();
    }

The **KubernetesClient** defaults to using the **KUBERNETES_MASTER** environment variable.

If your Java code is running inside of a Kubernetes environment the KubernetesClient will default to using **kubernetes.default.svc** (override by setting **KUBERNETES_MASTER**) as the address to communicate with the [kubernetes service](http://fabric8.io/guide/services.html) for the REST API.

If you wish to use a specific URL in your Java code just pass it into the factory constructor (though usually you don't need to!).

    KubernetesClient kube = new DefaultKubernetesClient("http://localhost:8585/");
    PodList pods = kube.pods().list();

To see more of the Kubernetes API in action using the [Kubernetes Client](https://github.com/fabric8io/kubernetes-client) see [this example](https://github.com/fabric8io/fabric8/blob/master/components/kubernetes-api/src/test/java/io/fabric8/kubernetes/api/Example.java#L48)

### Configuration

All configuration is done via the following environment variables:

* `KUBERNETES_MASTER` - the location of the kubernetes master
* `KUBERNETES_NAMESPACE` - the default namespace used on operations
* `KUBERNETES_CERTS_CA_DATA` - the full Kubernetes CA certificate as a string (only this or `KUBERNETES_CERTS_CA_FILE` should be specified)
* `KUBERNETES_CERTS_CA_FILE` - the path to the Kubernetes CA certificate file (only this or `KUBERNETES_CERTS_CA_DATA` should be specified)
* `KUBERNETES_CERTS_CLIENT_DATA` - the full Kubernetes client certificate as a string (only this or `KUBERNETES_CERTS_CLIENT_FILE` should be specified)
* `KUBERNETES_CERTS_CLIENT_FILE` - the path to the Kubernetes client certificate file (only this or `KUBERNETES_CERTS_CLIENT_DATA` should be specified)
* `KUBERNETES_CERTS_CLIENT_KEY_DATA` - the full Kubernetes client private key as a string (only this or `KUBERNETES_CERTS_CLIENT_KEY_FILE` should be specified)
* `KUBERNETES_CERTS_CLIENT_KEY_FILE` - the path to the Kubernetes client private key file (only this or `KUBERNETES_CERTS_CLIENT_KEY_DATA` should be specified)
* `KUBERNETES_TRUST_CERTIFICATES` - whether to trust the Kubernetes server certificate (this is insecure so please try to configure certificates properly via the other environment variables if at all possible)

The `*_DATA` variants take precedence over the `*_FILE` variants.

#### Defaults from OpenShift

If no configuration is supplied through explicit code or environment variables, the `kubernetes-api` library will try to find the current login token and namespace by parsing the users `~/.kube/config` file.

This means that if you use the [OpenShift](http://www.openshift.org/) command line tool `oc` you can login and change projects (namespaces in kubernetes speak) and those will be used by default by the `kubernetes-api` library.

e.g.

```
oc login
oc project cheese
mvn fabric8:apply
```

In the above, if there is no `KUBERNETES_NAMESPACE` environment variable or maven property called `fabric8.apply.namespace` then the `fabric8:apply` goal will apply the Kubernetes resources to the `cheese` namespace.


Not enough Prolotherapy Naturopaths to choose from?
Prolotherapy is a nonsurgical treatment for relieving musculoskeletal pain and repairing damaged ligaments through the injection of sugar water into areas where ligaments are weak, triggering the body to heal the injury and strengthen the joint. If you're looking for prolotherapy in Tucson or for a Tucson prolotherapists, or naturopathic prolotherapy Tucson, these naturopath prolotherapy therapists in Tucson are trained practitioners. They provide neural prolotherapy Tucson services.


text:
Q: Add XML node to WSO2 DSS and ESB response I have WSO2 DSS set up to return data like this:
<Products>
   <Product>
      <SKU>12345678910123</SKU>
      <Item>123456</Item>
      <ItemName>My Product Name</ItemName>
   </Product>
</Products>

If there is no data to return I simply get the following:
<Products xmlns="http://data.mydomain.com/wso2/Products/getSKUinfo"/>

I have WSO2 ESB Pass Through Proxy set up to connect to the above service.  When I hit the service in a URL like esbhost.domain.com/services/Products/SKU/12345678910123 I get the above.  What I'd like to do is add a "Status" node (or whatever it's called) to essentially return this:
<Products>
   <Status>1</Status>
   <Product>
       <SKU>12345678910123</SKU>
       <Item>123456</Item>
       <ItemName>My Product Name</ItemName>
   </Product>
</Products>

If there isn't a match/no data to return I'd like the response to be:
<Products>
   <Status>0</Status>
</Products>

Is this possible to do in WSO2 ESB?  Or do I need to add something in WSO2 DSS service?
Please pardon me if I'm not using the right terminology.
Thanks,
Jared

A: Yes it can be done in the ESB. Basically in the "outSequence" of that proxy service, you can simply use the filter mediator, to check  payload using XPath to check whether there isn't a match or no data is there. So from the filter mediator, in their separate paths, you can build up a message using the enrich mediator   and add the necessary elements you need, like the 0 and so on. So basically in the filter mediator "true" path, you can save the "Product" element in a property, and add it later to the last created element in the message body using enrich. You may want to check out the ESB samples to get a feeling on how these mediators work.
Cheers,
Anjana.

redpajama_set_name: RedPajamaStackExchange


If you've been seeing flyers for music festivals across the country, now look no further than your own city (feelin the Buffalove.) Cobblestone Live! is a brand new, two-day music festival featuring over 35 bands and artists right in the cobblestone district downtown. Buffalo is already *the best* when it comes to food and people, and now this festival is showing off our great music taste as well.
What is coolest about this festival is that it doesn't just have one type of music. With more than 35 bands, music tastes from country to hip hop to rock and funk are all covered. And believe me, this lineup definitely does not disappoint. Featuring big name, emerging bands like Moon Taxi, Real Estate, Aqueous, Solidisco, Moon Hooch, Wild Child, Delicate Steve and local bands like Mom Said No, Intrepid Travelers, Aircraft, and the Tins.
Enter to win tickets to one of the days below with your name and email!
For more information about Cobblestone Live! or to buy tickets go to ticketfly.com.


text:
HPE Acquires SD-WAN Leader Silver Peak
Hewlett Packard Enterprise will purchase Silver Peak, an SD-WAN leader, in a transaction valued at $925 million. Silver Peak will be combined with HPE's Aruba business unit and will extend Aruba's technology leadership in the large and fast-growing SD-WAN space.
Silver Peak has a great SD-WAN solution but one of its challenges was going up against huge players like Cisco, Oracle and VMWare. These large companies can no longer cast doubt on Silver Peak solutions as being less viable because of its smaller company size.
Antonio Neri, president and CEO of HPE
"HPE was an early mover in identifying the opportunity at the edge and that trend is accelerating in a post-COVID world," said Antonio Neri, president and CEO of HPE. "With this acquisition we are accelerating our edge-to-cloud strategy to provide a true distributed cloud model and cloud experience for all apps and data wherever they live. Silver Peak's innovative team and technology bring critical capabilities that will help our customers modernize and transform their networks to securely connect any edge to any cloud."
Silver Peak's SD-WAN offerings are highly complementary and strengthen Aruba's Edge Service Platform (ESP). By combining Silver Peak's SD-WAN with Aruba's SD-Branch solutions customers can simplify branch office and WAN deployments to empower remote workforces, enable cloud-connected distributed enterprises, and transform business operations without compromising quality or reliability.
Keerti Melkote, president of Intelligent Edge for Hewlett Packard Enterprise
"Today's announcement comes at a unique moment for our customers, who are grappling with business recovery in the wake of the pandemic," said Keerti Melkote, president of Intelligent Edge for Hewlett Packard Enterprise and founder of Aruba Networks. "The need for edge-to-cloud architectures has never been more relevant as enterprises look to extend connectivity to branch locations and enable secure work-from-home experiences. Silver Peak's technology transforms legacy WAN architectures to self-driving WANs, which is a perfect fit with Aruba's cloud-native, AI-driven Edge Services Platform. Together, we will be able to meet these needs with critical connectivity, security, and AI capabilities to drive the next generation of Edge-to-Cloud transformation."
Silver Peak has more than 1,500 production SD-WAN customers around the world. The company helps enterprises and service providers quickly migrate to secure enterprise-grade SD-WAN connectivity, while dramatically improving application performance and lowering connectivity costs. Powered by Silver Peak's SD-WAN edge platform, customers can achieve dedicated WAN-like performance while running all cloud applications and services via broadband access. Silver Peak also enables freedom of choice to leverage best-in-class technologies from a broad range of ecosystem partners, particularly those focused on security.
David Hughes, founder and CEO of Silver Peak
"Bringing together Silver Peak's advanced SD-WAN solutions with Aruba's industry-leading networking portfolio provides an unprecedented opportunity to deliver comprehensive business-driven solutions to our customers," said David Hughes, founder and CEO of Silver Peak. "The Silver Peak and Aruba teams share a common vision and goal to provide simplicity, scalability, and application-awareness at the edge. With Aruba's extensive go-to-market, we will further accelerate our ability to drive faster adoption of these transformational technologies. We are excited for the opportunities we will have as a combined team to accelerate innovation in this fast-growing segment of the networking market."
The combination of Aruba's all-in-one SD-Branch strategy and remote worker solutions with Silver Peak's SD-WAN and WAN optimization offerings will allow HPE to better address a greater set of customer requirements and capitalize on this market opportunity.
In 2018 HPE announced its strategic plan to invest $4 billion in Intelligent Edge over four years, and the company has been identifying opportunities to better help customers convert their data – from every edge to any cloud – into actionable insights that drive seamless interactions, while delivering simplified user and IT experiences. The recent impacts of the global pandemic have intensified customers' requirements for powerful solutions at the edge that put a premium on security, connectivity, and performance. This investment is consistent with HPE's core strategy focused on accelerating investments in areas of attractive, profitable growth including the Intelligent Edge.
The companies expect the combination to create opportunities for significant economic upside through enhanced growth and profitability by:
Providing a superior value proposition to joint customers through integrated offerings that address a greater set of customer requirements
Targeting an expanded TAM across SD-WAN and SD-Branch implementations
Accelerating WAN transformations across HPE and Aruba's broad global customer base
In short, this is a smart move for HPE as the SD-WAN market is rapidly accelerating and the company hasn't focused on it enough to grow share. With this massive investment in the space, HPE proves it has deep enough pockets to buy market share. Going forward, we need to see HPE continue and expand the investment in channel, sales, and R&D Silver Peak has been making over the years.
See the ONLY 5G, SD-WAN, Contact Center, Tech and Communications companies that matter at the ITEXPO #TECHSUPERSHOW.
June 22-25, 2021, Miami, FL. Register now.
hpe,SD-WAN,silver peak
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Director Ava DuVernay on Black Twitter and Love Stories
Your midday procrastination video. Watch speakers, singers, actors, dancers, musicians, comedians and athletes strut their stuff.
Because this woman might bring us a powerful new NOLA story.
By Shenequa Golding
This story is brought to you by our friends at Vibe.
Director Ava DuVernay makes it her business to tell the stories Hollywood rarely spotlights. Whether it be her indie film Middle of Nowhere that made her the first African-American woman to nab the Best Director prize at the 2012 Sundance Film Festival or her Academy Award-nominated motion picture Selma, Ms. DuVernay has made her agenda clear: to tell the diverse, complex stories about men and women of color.
Because of that commitment, Ava DuVernay became the arts and entertainment honoree for the 12th Annual McDonald's 365 Black Awards at this year's Essence Fest. Before hitting the stage and accepting her well-deserved honor, she chatted on the red carpet with Vibe to discuss the current social climate, Black Twitter and her upcoming flick.
Vibe: After Bree Newsome courageously took down the Confederate flag, you jokingly tweeted that you'd love to direct her biopic. What is it about Bree Newsome that resonates so much with you?
Ava DuVernay: You know, fortitude.
Vibe: That's right. You use the hashtag #onward.
A.D.: Right. Onward. It's about being strong in our convictions and she was. Whether people agree or disagree with what she did — and I wildly agree with it — there's something about action, the physical action of seeing that sister climb that pole and dismantle the symbol. It was incredible. It will be an image that is indelible when it comes to talking about human rights in general.
Vibe: You recently shouted out Black Twitter when the hashtag #UrbanOutfittersBeLike began. What is it about Black Twitter that you enjoy so much?
A.D.: I started to tell my friends who aren't Black about Black Twitter and they asked: How do we see Black Twitter? I said: It is invisible unless you follow a lot of Black people, and most people don't, but Black Twitter is truly like The Matrix. It just comes in front of you if you follow our folks. Like some of these hashtags are literally … if I could get some of these people in a writer's room, we could make a TV show. Amazing comedians! Just the wit. So I love it. But also, we rallied around issues that are important as well, such as Ferguson, not just Scandal. Like some of the Rachel Dolezal tweets. Some of it was funny, but a lot of it was really poignant and insightful, how people were feeling about misrepresentation. Anyway, I just think it's a great community and I enjoy it. Until they turn on me. [Laughs]
Vibe: Last question: David Oyelowo said you and him are working on a film about Hurricane Katrina. Is there any truth to that?
A.D.: Yeah. This time next year, we hope to be shooting a film here in [New Orleans]. It's a love story and a murder mystery that takes place during the time of Katrina. Pretty intense. Real beautiful story, so that's next.
Shenequa Golding, OZY AuthorContact Shenequa Golding
OZYPerformance
A conversation with a pioneer of the documentary theater genre.
Same-sex ballroom dancing whirls, dips and spins onto a wider stage.
Five Reasons I Couldn't Let This Poet Go
Singaporean poet Alvin Pang has a rare flair for the relevant and lyrical alike. Hear him read on race, fathers and the concept of success.
The Slam Poetry That Could Be Front-Page News
Emi Mahmoud, winner of the 2015 Individual World Poetry Slam, turns tragedy into art.
India's Gritty, Glamorous Poet Reads
Booker-shortlisted author, musician and poet Jeet Thayil sounds like Burroughs and Baudelaire embraced.
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Ages and Stages Questionnaires
The #1 screening for development and social-emotional areas in young children
The Ages and Stages Questionnaires are parent-completed development and social-emotional screeners for young children. Easy, reliable, and cost-effective, these screeners help determine if there are delays in key areas of a child's development.
THe ASQ-3 is a developmental screener that evaluates communication, gross motor, fine motor, problem solving, and personal-social development. It can be used for infants up to children at age 5. The Ages and Stages Questionnaire takes 10–15 minutes to complete and 2–3 minutes to score, and has 30 items per questionnaire with 10 questions.
The ASQ:SE-2 is a social-emotional screener that evaluates 7 key areas including self-regulation, compliance, communication, adaptive functioning, autonomy, affect, and interaction with people. Periodically screen children ages 1–72 months to monitor progress and detect if there are social-emotional delays in development using the Ages and Stages Questionnaires.
Order now below!
ASQ-3 Starter Kit, English
The ASQ-3 has been a trusted tool for more than 15 years to pinpoint delays as early as possible during the crucial first 5 years of life. The starter kit gives you everything you need to effectively screen five key developmental areas: communication, gross motor, fine motor, problem solving, and personal-social.
ASQ-3 Starter Kit, Spanish
The ASQ-3 has been a trusted tool for more than 15 years to pinpoint delays as early as possible during the crucial first 5 years of life. The Spanish version of the starter kit gives you everything you need to effectively screen five key developmental areas: communication, gross motor, fine motor, problem solving, and personal-social.
ASQ-3 User's Guide
The essential companion to the #1 developmental screener, the updated ASQ-3 User's Guide gives you all the information and guidance needed to use ASQ-3.
Use these reliable and cost-effective questionnaires to screen young children for developmental delays in the first 5 ½ years of life. Available in English or Spanish, the 21 age-appropriate questionnaires effectively screen five key developmental areas: communication, gross motor, fine motor, problem solving, and personal-social.
ASQ-3 Ages & Stages Questionnaires 3E Spanish
SPANIS EDITION | Use these reliable and cost-effective questionnaires to screen young children for developmental delays in the first 5 ½ years of life. Available in English or Spanish, the 21 age-appropriate questionnaires effectively screen five key developmental areas: communication, gross motor, fine motor, problem solving, and personal-social.
ASQ-SE Starter Kit, English
Uncover possible social-emotional issues during the crucial first 6 tears of life with the new edition of the bestselling screener. ASQ:SE-2 questionnaires effectively screen seven key developmental areas: self-regulation, compliance, adaptive functioning, autonomy, affect, social-communication, and interaction with people.
ASQ-SE Starter Kit, Spanish
Uncover possible social-emotional issues the crucial first 6 tears of life with the new edition of the bestselling screener. ASQ:SE-2 questionnaires effectively screen seven key developmental areas: self-regulation, compliance, adaptive functioning, autonomy, affect, social-communication, and interaction with people.
ASQ-SE User's Guide
This clear, comprehensive guide helps professionals ensure they're making the most of the highly reliable, accurate, and parent-friendly screener, ASQ-SE—so they can catch social-emotional issues early and help improve child outcomes. The user's guide gives you all the information you need to use the screener accurately and effectively.
ASQ-SE
The ASQ:SE-2 questionnaires are the most cost-effective, reliable way to screen young children for social-emotional issues in the first 6 years of life. The new second edition brings you nine improved age-appropriate questionnaires to effectively screen seven key social-emotional areas: self-regulation, compliance, adaptive functioning, autonomy, affect, social-communication, and interaction with people.
ASQ-SE, Spanish
The ASQ:SE-2 questionnaires in Spanish are the most cost-effective, reliable way to screen young children for social-emotional issues in the first 6 years of life. The new second edition brings you nine improved age-appropriate questionnaires to effectively screen seven key social-emotional areas: self-regulation, compliance, adaptive functioning, autonomy, affect, social-communication, and interaction with people.
ASQ-3 on a Home Visit DVD
ASQ on a Home Visit demonstrates completion of the ASQ questionnaires for two children. Their family is introduced and guided through questionnaire completion by a home visitor.
ASQ-SE-2 Learning Activities & More
Enhance the social-emotional development of infants and young children with this treasure trove of learning activities, handouts, and more! Specially developed to complement ASQ:SE-2, this essential resource makes it a snap to share practical social-emotional strategies with parents of children from birth to age 6.
ASQ: SE-2 in Practice DVD Revised
A helpful, informative companion to the Ages & Stages Questionnaires® Social-Emotional, Second Edition (ASQ: SE-2) screening system, this DVD gives an overview of emotional and social development and provides a thorough introduction to ASQ: SE-2. Viewers get an inside look at the screening system in practice as they watch a home visitor using ASQ: SE-2 with the family of a 4-year-old boy.


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Q: Show that $d=2d_{2}$ if $2d_{2}\le d_{1}$ and $d_{1}\leq d\leq2d_{2}$ if $2d_{2}>d_{1}$. Assume that $q$ is odd. Let $C_{i}$ be an $\left[n,k_{i},d_{i}\right]-$linear code over $\mathbb{F}_{q}$, for $i=1,2$. Define $$C_{1}\diamondsuit C_{2}=\left\{ \left(c_{1}+c_{2},c_{1}-c_{2}\right):c_{1}\in C_{1},c_{2}\in C_{2}\right\}.$$
Let $d$ be the minimum distance of $C_{1}\diamondsuit C_{2}$. Show that $d=2d_{2}$ if $2d_{2}\le d_{1}$ and $d_{1}\leq d\leq2d_{2}$ if $2d_{2}>d_{1}$.
I have found that $$d=\min\left\{ 2d_{1},2d_{2},\max\left\{ d_{1},d_{2}\right\} \right\}. $$ And i got that $d=2d_{2}$ if $2d_{2}\le d_{1}$. I have a problem with the next condition, $d_{1}\leq d\leq2d_{2}$ if $2d_{2}>d_{1}$. I cant seem to get the right inequality.


To forcefully make two or more people act, behave, or think in way that is appropriate or necessary. We're so far behind because your team keeps procrastinating. You need to go in their and knock their heads together. She claimed she would go into the negotiations and knock everyone's heads together until a deal was reached.
If you knock people's heads together or bang their heads together, you forcefully make them stop arguing. If he's unable to knock everybody's heads together, then questions are going to be raised about his own ability to continue in office. The idea is to bang their heads together until they come out with a sensible deal. Note: You can also say that someone bangs heads together or knocks heads together. Chris Smith said he would bang heads together.


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Castianeira truncata är en spindelart som beskrevs av Kraus 1955. Castianeira truncata ingår i släktet Castianeira och familjen flinkspindlar.

Artens utbredningsområde är El Salvador. Inga underarter finns listade i Catalogue of Life.

Källor

Flinkspindlar
truncata


Description: WESTERN GUN PARTS LTD is a business categorized under sporting goods and bicycle shops, which is part of the larger category miscellaneous retail. WESTERN GUN PARTS LTD is located at the address 18124 107 Avenue Nw in Edmonton, Alberta T5S 1K5. The Owner is Erv Heiman who can be contacted at 780-489-5711.
Location & access map for "WESTERN GUN PARTS LTD"


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Dazzling Army Missile Test Triggers UFO Reports in Western US
By Tariq Malik 14 September 2012
Stargazer Ryan Eiger captured this stunning photo of an Army missile contrail along with Venus and the moon over Scottsdale, Ariz., before dawn on Sept. 13, 2012. The contrail was caused by an Amry Juno rocket during a missile intercept test from Fort Wingate near Gallup, N.M.
(Image: © Ryan Eiger)
A spectacular U.S. Army missile test in New Mexico Thursday (Sept. 13) lit up the predawn sky over the southwestern United States, triggering a flood of frantic UFO reports and hundreds of calls to military officials from as far away as Denver and Los Angeles.
The amazing night sky sight was created by the launch of an Army Juno missile early Thursday from Fort Wingate in New Mexico, which soared high into the atmosphere on its way to the White Sands Missile Range to be intercepted by a Patriot missile. The unarmed Juno rocket flew so high that its long contrail reflected sunlight from the yet-to-rise sun, sparking a dazzling night sky light show.
Linda & Dr. Dick Buscher caught the contrail from a missile launch from Fort Wingate, NM, at their location in Anthem, AZ, at the north edge of Phoenix, 5:41 am on September 13, 2012. (Image credit: Linda & Dr. Dick Buscher)
"We kind of hope folks enjoy the light show we put on over the western U.S.," White Sands Missile Range spokeswoman Monte Marlin told SPACE.com.
Marlin said her office received more than 100 calls and a flood of emails from observers who saw the Juno rocket's contrail from states across the Southwest. According to the Associated Press, the missile test led to widespread reports from people who regarded the shiny rocket exhaust as a UFO sighting in the sky.
Marlin said she received calls from as far away as Denver, Salt Lake City in Utah, Las Vegas and Los Angeles reporting the sighting.
"Conditions were just right for it to be seen from far away," Marlin said, adding that the view was caused when the Juno missile's exhaust froze in the upper atmosphere. "When it freezes, those little ice crystals act like prisms to reflect sunlight. It creates that amazing light show."
Because the contrail crossed several layers of the Earth's atmosphere, it was sculpted by high altitude winds, perhaps surprising observers used to seeing the straight-line contrails from airplanes, she added.
In Scottsdale, Ariz., observer Ryan Eiger was walking his dogs before sunrise and snapped a photo of the Juno missile contrail shining with the moon and Venus.
"I looked up quickly noticing the contrail in the east. I ran and got my iPhone and it happened to be just north of both the moon and Venus," Eiger said in an email. "The contrail was amazing. It sort of resembled a cloud except for the very colorful tail it had."
The wispy, but still bright, Juno contrail was also photographed by Linda and Dick Buscher of Anthem, Ariz., just outside of Phoenix, who also sent their photos into SPACE.com.
Marlin said Thursday's missile launch was the 14th test of its kind since 1998. Sometimes the Juno contrails have been spotted from far-off locales, and other times not. Prior to Thursday's launch, the furthest reports from observers came from Phoenix and Colorado, she said.
"It was fun, the number of calls that we received yesterday," Marlin said. "They were mostly incredulous, like 'That was so cool!'"
You can follow SPACE.com Managing Editor Tariq Malik on Twitter @tariqjmalik and SPACE.com on Twitter @Spacedotcom. We're also on Facebook & Google+.


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Kyrie Irving's 26 points, 10 assists and career-high eight steals leads Celtics past Heat
Kyrie Irving stuffed the stat sheet for Boston, putting in a strong performance on both ends of the floor to lead the Celtics to a 107-99 win over the Miami Heat.
(NBA Getty Images) https://images.daznservices.com/di/library/NBA_Global_CMS_image_storage/ac/74/irving_189ypwje8u7hn1rdc7d9ditawx.jpg?t=1930778144&w=500
The Boston Celtics extend their winning streak to four games, behind another impressive performance from Kyrie Irving.
Irving stuffed the stat sheet with 26 points, 10 assists and a career-high EIGHT steals, while Al Horford added 16 points and 12 rebounds as the Boston Celtics beat the Miami Heat 107-99.
Kyrie was everywhere for the Celtics tonight! 😲
📊: 26 PTS | 10 AST | 8 STL (career-high)#CUsRise pic.twitter.com/Nx3sFDar9F
- NBA TV (@NBATV) January 22, 2019
Irving has now recorded 10+ assists in three of his past four games and has now has 10 games this season with 20+ points and 10+ assists, a mark not reached by a Celtics player since Larry Bird did it in 1986-87.
Celtics 107, Heat 99
Kyrie Irving: 26 points, 10 assists, 8 steals.
This is only the 9th time since the NBA started tracking steals (1974) that a player has reached 20/10/8 benchmarks.
Irving absolutely sizzling lately.
- Chris Forsberg (@ChrisForsberg_) January 22, 2019
After an even first half, Boston blew the game open in the third quarter, outscoring the Heat 37-18, shooting a sizzling 16-of-22 from the field to take a 19-point lead heading into the fourth quarter. With the Celtics in cruise control, the Heat responded immediately, using a 24-7 run with Boston's starters on the bench, cutting the deficit to 99-94 with under five minutes remaining, before Irving came to life once again.
With the game in the balance, Irving attacked the rim at will, burying layup after layup to give his team some breathing room, leaving Miami's defence scratching their heads for answers.
Kyrie getting things done down the stretch. pic.twitter.com/6NAdyZ2Dr0
- Boston Celtics (@celtics) January 22, 2019
...he made it look too easy in crunch time.
And again. ❄ pic.twitter.com/q5QO9CLvVp
With the Celtics riding a wave of confidence, coach Brad Stevens had a smimple message for his squad after the win: "Move on. Keep going," he said post-game. "Focus on what you can do to improve from today's performance. But let it go regardless, and move on to Wednesday night."
Marcus Morris added 17 points for the Celtics, while Jayson Tatum added 19 as Boston won their ninth-straight game at TD Garden, improving their home record to 18-5 on the season.
Ahead of today's game, Irving addressed the Celtics home crowd, honouring Dr. Martin Luther King Jr.
"A man who truly embodied what it means to be a leader, a visionary, and a dreamer..."
The @celtics' Kyrie Irving on Martin Luther King Jr. #MLKDay pic.twitter.com/TZTHef53nY
For the Heat, Derrick Jones Jr. and Dion Waiters led the charge off the bench with 18 points each, with Josh Richardson the only Heat starter to crack double figures with 11.
Boston will look to extend their win streak on Wednesday night when they take on Irving's former team, the Cleveland Cavaliers.


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Expert Report Finds Cleveland Police Responsible For Death of Mentally Ill Woman
Written on Wednesday, July 27th, 2016 by Kimberly DelMonico
A new expert report has found the Cleveland police responsible for the death of 37-year old Tanisha Anderson.
Tanisha Anderson's Death
According to the suit filed by Anderson's estate, on November 12, 2014, Anderson's family called 911, seeking mental help assistance for Anderson. Anderson suffered from bipolar disorder and schizophrenia and had recently been released from a mental health facility. When the police arrived, they placed Anderson in a zone car and she became agitated. The responding officers pushed Anderson to the ground and placed pressure on her back while handcuffing her. Anderson lost consciousness and stopped breathing. She eventually died.
The Cuyahoga County Coroner determined the Anderson's cause of death to be "Sudden death associated with physical restraint in a prone position in association with ischemic heart disease and Bipolar disorder with agitation."
The estate of Tanisha Anderson filed a lawsuit in federal district court against the City of Cleveland and Officers Scott Aldridge and Bryan Myers. Anderson's mother, Cassandra Johnson, says that she is "hopeful this will finally bring justice for Tanisha" and that this case "has been passed off from one agency to another for nearly two years." The suit alleges excessive force and denial of medical care, wrongful death, assault and battery, and a violation of the Americans with Disabilities Act.
Expert Report from Former Deputy Chief of Police of Los Angeles Police Department
Anderson's family retained Lou Reiter as an expert witness. Reiter is the former Deputy Chief of Police of the Los Angeles Police Department and served as a police officer for over twenty years. After his retirement, Reiter has been a police consultant in police training and management, including the investigation of critical incidents, Internal Affairs, liability management, and policy and procedure development. Reiter is the author of the manual Law Enforcement Administrative Investigations and has been retained as an expert witness in over 1100 police-related cases.
Reiter reviewed the court records, medical records, depositions and witness interviews, and police files in Anderson's case. Reiter opined that "The City of Cleveland, Cleveland Division of Police, in my opinion based upon my specialized knowledge, skills and training and my review of the documentation in this litigation, exhibited deliberate indifference in its training, supervision and policy development by not addressing the known, common field risks of positional asphyxiation. Officers Aldridge and Myers failed to follow basic precautions when restraining Tanisha Anderson in the prone position and caused her injuries due to positional asphyxia. Their actions were consistent with the City's critical lack of policy, training and supervision regarding the dangers of positional asphyxiation."
Reiter further found that the officers used "unreasonable and excessive" force in their encounter with Anderson and that they "failed to use reasonable and generally accepted police practices in failing to provide medical care for Ms. Anderson." Reiter also found that "there was absolutely no excuse to not place Ms. Anderson in a position of less restraint, remove her handcuffs or begin any form of immediate first aid."
The lawsuit is pending in United States District Court in the Northern District of Ohio as Case No. 1:15-cv-0027 before Judge Donald C. Nugent.
About Kimberly DelMonico
Kimberly DelMonico is a licensed attorney in New York and Nevada. She received her law degree from William S. Boyd School of Law at University of Nevada, Las Vegas and her undergraduate degree from New York University, where she studied psychology and broadcast journalism.
View all posts by Kimberly DelMonico →
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On top of that she can be seen wearing chains Nº001, Nº002, and Nº003 in another sultry bathtub shot which is exactly the way I prefer to bathe.
Click here to see the full editorial including my fave pic w/ butterfly bewbs.
Also, Donna is the cutest and her Instagram is pretty lit - click here to peek.


In celebration of the 450th anniversary of Claudio Monteverdi's birth, Wratislavia Cantans is proud to announce the Opening Celebration of its 52nd edition with two very special performances of Monteverdi's Il ritorno di Ulisse in patria (The Return of Ulysses to his Homeland). Join us as early music champion Sir John Eliot Gardiner conducts the most melancholic and meditative of Monteverdi's operas!
Monteverdi, celebrated by music historians as the founder of modern opera, was the first to compose a truly remarkable operatic work, his Orfeo in 1607. In doing so, he legitimately brought a new form of music into the mainstream. At the dawn of the 17th century, Venice was quickly becoming Opera's epicenter, its streets flooded with commedia dell'arte troupes and six opera houses were established in the vicinity. These initial operas were being written with an emphasis increasingly placed on the individual, and it was Monteverdi who communicated emotion through music for the first time. The previous Renaissance style compositions, which had been conveyed thru polyphonic spectacles with every voice of equal importance and restrained neutral emotions, where abrasively sacred in nature. Claudio Monteverdi, began transforming the miniature form of the madrigal into a full-scale music drama.
Il ritorno di Ulisse in patria (The Return of Ulysses to his Homeland) had its debut in Venice in 1641, as part of the annual carnival season. Based on the second half of Homer's Odyssey it is a tale of treachery and deception, eventually overcome by fidelity and love, about a Greek warrior during the Trojan war fated to wander for 20 years before he is able to return to his homeland and his long-suffering wife, Penelope. After two decades of war, the weary Ulysses is washed up on the rocky shore of his home island of Ithaca. There, he discovers the hordes of depraved admirers who have besieged his faithful wife and thus he launches into battle to win back her love.
Sir John Eliot Gardiner, acknowledged as a key figure in the early music revival of the past four decades, and his ensembles, the Monteverdi Choir and English Baroque Soloists, have undertaken a number of large-scale tours, pioneering projects all over the world with the aim of bringing life to music from past centuries by returning it's relevance to modern audiences.
Bilety na to wydarzenie nie podlegają zwrotowi. / Tickets for this event are not refundable. VIP Room jest dostępny na godzinę przed koncertem.