text:
Roger Pielke may refer to:

 Roger A. Pielke (born 1946), American meteorologist
 Roger A. Pielke, Jr. (born 1968), American political scientist

redpajama_set_name: RedPajamaWikipedia


text:
'Hereditary' Director Ari Aster's Next Movie Is Apocalyptic Pagan Cult Horror
What's the next move after you make one of the most critically acclaimed horror movies in years? One that breaks financial records for the indie art-house studio that backed the project? Well, if you're Ari Aster and A24, the team behind Hereditary, you team up again for a cult-y Scandinavian cult horror film, that's what.
Collider reports that Aster and A24 are currently filming the as-yet-untitled film in Budapest. Their sources also tell them Jack Reynor (Free Fire) and Will Poulter (Son of Rambow) are also close to joining the party, which already includes Florence Pugh (Lady Macbeth and Park Chan-wook's upcoming series adaptation of John Le Carre's The Little Drummer Girl), William Jackson Harper (The Good Place), and others.
There's a definite Wicker Man/Kill List vibe about this project, which makes sense as Hereditary definitely shares a few strands of that DNA. Aster has also called it an "apocalyptic breakup movie" and "Scandinavian folk horror." According to the report:
"Pugh and Reynor will play a couple that travels to Sweden to visit their friend's rural hometown for its fabled mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult."
Hot on the heels of Hereditary, which just became A24's highest grossing film in their still relatively young life, I'm down to watch anything Aster does next. And, to be honest, at this stage, I'm also game to watch a movie based on little more than the A24 title card—they're track record is nothing if not solid. The fact that it's a weird, cult-ish horror yarn only makes me that much more interested.
Right now, there's no title for this movie, and few other details on either the plot or a timeline for when we might see it. But given that it's already filming, and Hereditary debuted there, Sundance feels like it could be an option. I've never made a movie, so I don't know about turnaround time, post-production, and all that, but it seems possible. Whenever it happens, the sooner the better.
Posted by Brent McKnight at 1:52 PM
Labels: A24, Ari Aster, Frances Pugh, Horror, Jack Reynor, news, Will Poulter, William Jackson Harper
The 50 Most-Anticipated Movies Of 2021
Search The Last Thing I See
'Skylines' (2020) Movie Review
It happens often that a movie, usually a major studio production, aims to kick off a franchise, only for it to be a no-go. It also happens, ...
'Max Cloud' (2020) Movie Review
When Max Cloud , AKA The Intergalactic Adventures of Max Cloud , works, it's a good amount of ridiculous, silly fun, with an intentionally...
'The Bygone' (2019) Movie Review
On the surface, The Bygone looks made for me. A sparse, gritty neo-western about clashing cultures, a disappearing way of life, hard-s...
'The Dark And The Wicked' (2020) Movie Review
A remote, isolated farm; a dying family patriarch; estranged adult children; a mentally unravelling mother; wolves. The Dark and the Wi...
'Archenemy' (2020) Movie Review
Superhero films are massive at the moment. You probably noticed that. They're so ubiquitous they've even spawned a veritable cottage industr...
'The Swerve' (2019) Movie Review
High school English teacher Holly (Azura Skye), the protagonist of writer/director Dean Kapsalis' debut feature The Swerve , is harried, ig...
Nightstream Review: 'Shock Value: The Movie'
A horror anthology, but collect rare, lost or little-seen early short films from filmmakers who went on to become influential in the industr...
Nightstream Review: Kimo Stamboel's 'The Queen of Black Magic'
An Ind onesian remake of an early '80s witch-drenched horror tale from director Kimo Stamboel ( Headshot , DreadOut ) and writer Joko Anwa...
Tweets by @BrentMMcKnight
'Hereditary' Director Ari Aster's Next Movie Is Ap...
'Puppet Master: The Littlest Reich' Trailer: This ...
'Mission: Impossible—Fallout' (2018) Movie Review
SDCC Trailers: 'Godzilla: King Of The Monsters,' '...
Bad Robot's 'Overlord' Trailer Has Nazi-Zombies An...
'The Equalizer 2' (2018) Movie Review
Kim Jee-Woon's 'Jin-Roh' Adaptation 'Illang: The W...
'The Dead Don't Die': Jim Jarmusch Is Filming A Zo...
'Skyscraper' (2018) Movie Review
'Beats Of Rage' Trailer: This 'FP' Sequel Is Full ...
Timo Tjahjanto's 'May The Devil Take You' Trailer ...
'The Night Eats The World' (2018) Movie Review
Yorgos Lanthimos' 'The Favourite' Trailer Has Bull...
'Godmonster Of Indian Flats' (1973) Movie Review
'The First Purge' (2018) Movie Review
'Buybust' Tralier: Anne Curtis And Brandon Vera Pu...
Places I Write/Have Written For
Giant Freakin' Robot
PopMatters
Culture Mob
Northwest Meetings + Events
Movie Review (669) Action (606) Horror (553) Sci-fi (362) Badass (348) Comedy (166) SIFF (150) Thriller (125) Asian (117) TV (99) Martial Arts (97) Crime (89) Adaptation (81) Comic Book (75) DVD (68) Zombies (68) List (61) Superhero (61) Revenge (57) Korea (54) Blu-ray (53) The Walking Dead (40) Sequel (35) DTV (34) Book (32) Books (32) Dystopian (29) Adventure (28) Teen (28) Western (28) Spy (24) Splatter (23) Aliens (22) Fantasy (22) Nuts (22) Silly (20) Space (19) Mystery (18) Romance (18) Absurd (16) Musical (16) Top Ten List (15) disaster (15) Bullshit (14) Gore (13) Suspense (13) Bloody (12) Kids (12) Apocalypse (11) Prison (11) Sex (11) Romantic Comedy (10) Time Travel (10) Road Trip (9) Essay (8) Heist (7) Psychedelic (7) MMA (4) 3D (3) Mash-up (1) Nightfall (1)
Simple theme. Theme images by i-bob. Powered by Blogger.

redpajama_set_name: RedPajamaCommonCrawl


text:
Lunch with Ann Colley, Director of Public Relations and Charitable Giving at Moore Capital Management, LP and Executive Director and Vice President of the Moore Charitable Foundation
November 22, 2019 @ 12:15 pm - 1:15 pm
« Art Through the Ages: A Guided Tour of "She Who Tells a Story"
Graham Gatherings »
Ann Colley is director of public relations and charitable giving at Moore Capital Management, LP, and executive director and vice president of The Moore Charitable Foundation (MCF) and its affiliate foundations. As the principal adviser to Moore Charitable founder and chairman, Louis Bacon, Ann has spent more than two decades guiding the foundation's grant making and partnerships with many of the nation's foremost conservation organizations. She also represents Moore Charitable in collaboration with local community organizations. A native of North Carolina, Ann joined MCF in 1994 as its first executive director after working in presidential, gubernatorial and congressional campaigns. She serves on the Board of Trustees of Waterkeeper Alliance, and is on the University of North Carolina's Board of Visitors as well as UNC's Institute for the Environment Board. She is an advisory member of Oceana's Ocean Council, Oceans 5 and the Shark Conservation Fund. Ann attended Hollins University and graduated from the University of North Carolina at Chapel Hill. She lives in New York City and has two sons. RSVP here.
Graham Memorial: Room 211


text:
Guarianthe skinneri is a species of orchid. It is native to Costa Rica; from Chiapas to every country in Central America.

Guarianthe skinneri is the national flower of Costa Rica, where it is known as guaria morada. It was referenced as Cattleya skinneri as the earlier name by James Bateman in 1839. The range of G. skinneri extends from the southern Mexican border into Costa Rica where it is the national flower.

References

External links

skinneri
Orchids of Central America
Orchids of Belize
Orchids of Chiapas
Plants described in 1839

National symbols of Costa Rica


Mediclick is a healthcare industry leader in supply chain management and medical equipment tracking technology. They provide of analytics and savings solutions for complex systems to improve performance.
The Mediclick identity utilizes an X to focus on the filtering of information through a precise pivot point. This device is the basis the graphic system that flexes across various executions and touchpoints to create a robust, yet cohesive look.


text:
60 Days toRegister
AboutOrganizational ReadinessFAQsTimelineApplication
Scoring Process
Scoring RubricFairness
EvaluationRulesNews & Updates
Learn more about the Stronger Democracy Award.
Help us uncover bold approaches to strengthening our democracy.
While we have reason to celebrate the highest voter turnout in U.S. history in the recent presidential elections, the fundamental components of democracy—fair elections, trust in institutions and public servants, and an orderly transition of power—have been eroded by partisan politics. We need to seize the momentum generated by high voter interest and turnout to invest in ideas that strengthen our democratic systems.
To this end, the Stronger Democracy Award seeks bold solutions that will drive structural reform to help our government fully and effectively represent its citizens. Proposed projects will address systemic barriers and advance structural reforms in one of three areas: voting and elections, policymaking, and/or civic engagement. The objective of the Award is to incentivize our government to be more responsive to the broader electorate and ensure that it is staffed with high quality, high-functioning institutions and people.
As we embark on this journey to strengthen our democracy, we invite you to share innovative and scalable solutions with us!
The Stronger Democracy Award will grant a total of $22 million to proven, scalable, and game-changing solutions that address one or more of the following key solution categories:
Implement structural reform around voting rights and access, redistricting, voting architecture, and campaign finance.
Strengthen legislative processes and tools to improve bipartisan relationships among politicians, increase access to policy expertise through nonpartisan think tanks and research engines, and promote the passing of policies representative of the broader electorate.
Improve civic education and participation to support citizens, communities, and society as they inform policies and hold representatives accountable.
We cannot make progress on the many challenges facing our nation - from a highly unequal recession, to climate change, to racial equality - without repairing our democracy. This award meets the moment and will help drive innovation essential to get our democracy on track.
Daniella Ballou-Aares, Founder & CEO, Leadership Now Project
We have designed a process that is fair, open, and transparent. Once the application period closes, our team will confirm that each submission meets the requirements and rules before advancing first to Peer-to-Peer review and then to the Evaluation Panel review. Once evaluations are complete, the Stronger Democracy Award team will review the top-scoring submissions and may request additional information as needed in order to select up to five Finalists who will move on to the next phase.
The Finalists will work with an expert team to strengthen, revise, and resubmit their proposals, host site visits, and share their more detailed plan to implement the proposed solution. Two Stronger Democracy Finalists will receive a $10 million grant, one from Additional Ventures, and the second from an anonymous donor in the ICONIQ Impact community. A separate $2 million grant from philanthropists Cipora & Vlado Herman will be awarded to one of the other Finalists.
Proposed solutions must be led by an eligible, US-based organization. Strong solutions will be:
Transformative
A powerful strategy with well-defined goals and outcomes that will break down systemic barriers to a strong democracy, deliver sustainable results, and create long-term impact.
A groundbreaking approach activating original concepts that complement and improve existing efforts.
An accomplished team with a strong coalition of partners and relationships who together share a deep understanding of the context, costs, and plans needed to mitigate risk and deliver results.
Robust evidence that the solution is a model that can be expanded, replicated, and/or adapted while retaining effectiveness in many contexts and communities throughout the country.
Protecting democracy is one of our generation's defining challenges. We will need not just Americans of all stripes to take up this cause, but the right ideas to lead us to both save and strengthen our democracy.
Ian Bassin, Co-Founder, Protect Democracy
Since its inception in 2019, Lever for Change has launched large-scale, open-call, and transparent competitions, including Larsen Lam ICONIQ Impact Award, Equality Can't Wait, Racial Equity 2030, and more. These competitions seek to find and fund solutions to the world's greatest challenges, ranging from racial and gender equity to economic development and climate change. Our competitions are sponsored by leading philanthropists, family foundations, and large philanthropic institutions.
We are committed to openness and transparency in all our competitions and publicly share information about the process including the full application, timeline, eligibility rules, as well as the evaluation criteria and panel. Our competitions include multiple rounds of evaluation, which ensure that applicants receive feedback on their proposals from peers and expert reviewers.
Through competitions, Lever for Change connects donors with highly-rated, vetted proposals. In addition, we support top applicants with resources to strengthen their vision and organizational capacity to effectively deploy large amounts of capital. Collectively, these efforts contribute to a robust pipeline of high-impact solutions — "big bets" — that, when funded, have the potential to address some of the greatest challenges we face in the world at scale.
Our democracy faces many headwinds. My experience as a first-generation American, designer and entrepreneur has taught me to perpetually seek opportunities among the challenges. Reimagining our interactions with government and our fellow citizens can forge relationships that can strengthen our shared democracy.
Lee-Sean Huang, Founder & Creative Director, Foossa
JOIN US
We want to amplify the impact of the Stronger Democracy Award and are actively seeking to support more of the proposed solutions we receive. We invite other donors committed to a stronger American democracy to join as a donor partner. Please contact us to express your interest, and we will be in touch with more information.
The Stronger Democracy Award will host Q&A webinars in the weeks leading up to the registration and submission deadlines. Information to sign up for these webinars will be emailed to those who have registered for the Award and will be available on News & Updates.
In the meantime, please contact us to request more information regarding eligibility, requirements, and other Award-related questions.
Let's get to work.
Share your bold, game-changing solution to strengthen American democracy.
60 Days to Register
A competition by:
Challenge designed and powered by Carrot. © 2021. All rights reserved.


text:
Readers ask: Who Was The Painter Referenced In Dead Pool?
1 Who is the bug guy in Deadpool 2?
2 Who is the big mutant in Deadpool 2?
3 What mutants are in the icebox in Deadpool 2?
4 Will there be a Deadpool 3?
5 Who is the big man in Deadpool?
6 Who is stronger Hulk or Juggernaut?
7 Is Juggernaut stronger than Colossus?
8 Is the Juggernaut Professor X's brother?
9 What is Ryan Reynolds worth?
10 Why does Deadpool hate Wolverine?
11 Who is Ryan Reynolds favorite Marvel character?
12 Is Omega Red Deadpool 2?
13 Who is the monster in the icebox?
14 How does Deadpool end up in jail?
Who is the bug guy in Deadpool 2?
With Cable making his film debut in Deadpool 2, where he's played by Josh Brolin (you know, the guy in a little indie movie called Avengers: Infinity War), it's been a common refrain amongst casual comics fans lately to ask those of us steeped in the folklore "Who is Cable and why should I care?"
Who is the big mutant in Deadpool 2?
Comics. Juggernaut (born Cain Marko) is a major antagonist in Deadpool 2. He is a mutant who has superhuman strength and durability. He was a member of the Brotherhood of Mutants.
What mutants are in the icebox in Deadpool 2?
Known Inmates
Black Tom Cassidy †
Sluggo.
Firefist.
Juggernaut.
Deadpool.
Omega Red.
Arcade.
Mutant Prisoner.
Will there be a Deadpool 3?
Ryan Reynolds Says There's A 'Pretty Damn Good' Chance Deadpool 3 Will Start Filming Next Year. Ryan Reynolds has confirmed that the third Deadpool film has a 'pretty damn good' chance of starting up production next year.
You might be interested: Sims 4 How Do I Sell Retail As Painter?
Who is the big man in Deadpool?
Stefan Kapičić (Serbian Cyrillic: ћ; born December 1, 1978) is a Serbian-Montenegrin actor best known for his role of Colossus in Deadpool (2016) and Deadpool 2 (2018).
Who is stronger Hulk or Juggernaut?
In the comics, Hulk waged war on the X-men and eventually fought Juggernaut. Hulk was beating him. When this happened the fight became far closer and eventually, Hulk defeated him with some clever strategy. In reality, Juggernaut is virtually unstoppable without magic, but the Hulk is stronger than Juggernaut.
Is Juggernaut stronger than Colossus?
So while Juggernaut is much more powerful, and would normally be able to win in a fight, Colossus could convince Cyttorak to transfer his power, or even cut off Cain Marko's connection to Cyttorak. Colossus would still be a powerful mutant.
Is the Juggernaut Professor X's brother?
Juggernaut (Cain Marko) is a fictional character appearing in American comic books published by Marvel Comics. Although not a mutant, Juggernaut has been featured as a prominent member of the Brotherhood of Mutants. He is also the stepbrother of Professor X.
What is Ryan Reynolds worth?
As of July 1, 2021, Ryan Reynolds had a net worth of $150 million. The bulk of Reynolds' wealth comes from his highly successful acting career. Deadpool remains Ryan's most commercially successful film to date.
Why does Deadpool hate Wolverine?
Deadpool hates the movie X-Men Origins: Wolverine because of the way he was portrayed there, but not Wolverine himself. In today's article, we are going to explore Deadpool's love of unicorns and connect it with his sexuality, so keep reading to find out all you wanted to know about this topic.
You might be interested: Quick Answer: 2-D Cel Painter. What Is A Cel?
Who is Ryan Reynolds favorite Marvel character?
The Canadian actor Ryan Reynolds is popular for his superhero role Deadpool. The actor has worked in Marvel Entertainment's Deadpool and Deadpool 2. While fans are fond of Ryan Reynolds' savage superhero character, they were also speculating its official entry in the Marvel Cinematic Universe.
Is Omega Red Deadpool 2?
Omega Red can be briefly seen in Deadpool 2, portrayed by Dakoda Shepley. He is shown to be a prisoner in the Ice Box.
Who is the monster in the icebox?
The character in question is the Juggernaut. While Russell and Wade are in the Ice Box they talk about a "monster in the basement". It turns out to be Juggernaut and Russell makes friend with the character and helps Russell break out of the armored truck and get his revenge.
How does Deadpool end up in jail?
Around a quarter into the runtime of Deadpool 2, Wade Wilson ends up arrested for killing one of Firefist's abusers at his orphanage.


text:
Q: Rendering compute-shader output to screen I'm trying to set up a pipeline to do some raymarching-rendering.
At first I set up a vertex and a geometry shader to take just 1 arbitrary float, and make a quad so I can use just the fragment shader, and input data via passing it through all shaders or uniforms.
But then I came across the compute shader, and found some tutorials but all just did nearly the same, making a quad and rendering compute-shaders output to it, I think that's pretty stupid, if you have the possibility to render how you want with the compute shader and still do tricks to get your result.
After some further research i found the function 'glFramebufferImage2D' and as far as I understood it, it attaches an ImageTexture (the one I wrote to with my compute shader in my case) to the Framebuffer (the buffer thats displayed as far as i understood it). So i dont have to do the quad generating trick.
But the code I wrote just shows a black screen.
Did i get something wrong? or did i missed something in my code?
This is my code:
(I'm not worrying about warnings and detaching shader-programs yet. I just wanted to test the concept for now.)
main.rs
extern crate sdl2;
extern crate gl;

use sdl2::pixels::Color;
use std::ffi::{CStr, CString};

fn main() {

    let width = 512;
    let height = 512;

    let sdl = sdl2::init().unwrap();
    let video_sys = sdl.video().unwrap();

    let gl_attr = video_sys.gl_attr();
    gl_attr.set_context_profile(sdl2::video::GLProfile::Core);
    gl_attr.set_context_version(4, 1);

    let window = video_sys.window("test", width, height).opengl().build().unwrap();
    let gl_ctx = window.gl_create_context().unwrap();

    let gl = gl::load_with(|s| video_sys.gl_get_proc_address(s) as *const std::os::raw::c_void);

    unsafe {
        gl::Viewport(0, 0, width as gl::types::GLsizei, height as gl::types::GLsizei);
        gl::ClearColor(0.0, 0.0, 0.0, 1.0);
    }

    let shader = unsafe { gl::CreateShader(gl::COMPUTE_SHADER) };
    unsafe {
        gl::ShaderSource(shader, 1, &CString::new(include_str!("screen.comp")).unwrap().as_ptr(), std::ptr::null());
        gl::CompileShader(shader);
    }

    let program = unsafe { gl::CreateProgram() };
    unsafe {
        gl::AttachShader(program, shader);
        gl::LinkProgram(program);
        gl::UseProgram(program);
    }

    let mut tex_out : gl::types::GLuint = 0;
    unsafe {
        gl::GenTextures(1, &mut tex_out);
        gl::ActiveTexture(gl::TEXTURE0);
        gl::BindTexture(gl::TEXTURE_2D, tex_out);
        gl::TexImage2D(
            gl::TEXTURE_2D,
            0,
            gl::RGBA32F as gl::types::GLint,
            width as gl::types::GLsizei,
            height as gl::types::GLsizei,
            0,
            gl::RGBA,
            gl::FLOAT,
            std::ptr::null()
        );
        gl::BindImageTexture(0, tex_out, 0, gl::FALSE, 0, gl::WRITE_ONLY, gl::RGBA32F);
    }

    let mut event_pump = sdl.event_pump().unwrap();

    'main: loop {

        for event in event_pump.poll_iter() {
            match event {
                sdl2::event::Event::Quit {..} => break 'main,
                _ => {},
            }
        }

        unsafe {
            gl::DispatchCompute(width as gl::types::GLuint, height as gl::types::GLuint, 1);
            gl::MemoryBarrier(gl::SHADER_IMAGE_ACCESS_BARRIER_BIT);
            gl::FramebufferTexture2D(gl::FRAMEBUFFER, gl::COLOR_ATTACHMENT0, gl::TEXTURE_2D, tex_out, 0);
        }

        window.gl_swap_window();

    }

}

screen.comp
#version 430
layout(local_size_x = 1, local_size_y = 1) in;
layout(rgba32f, binding = 0) uniform image2D img_output;

void main() {

    vec4 pixel = vec4(1.0, 1.0, 1.0, 1.0);

    ivec2 pixel_coords = ivec2(gl_GlobalInvocationID.xy);

    imageStore(img_output, pixel_coords, pixel);

}

EDIT:
the working code:
(with some color test)
main.rs:
extern crate sdl2;
extern crate gl;

use std::ffi::{CStr, CString};

struct Renderer {
    width : u32 ,
    height : u32 ,
    shader : gl::types::GLuint ,
    program : gl::types::GLuint ,
}

impl Renderer {

    fn new(width : u32, height : u32, shader_name : &CStr) -> Self {

        unsafe {
            gl::Viewport(0, 0, width as gl::types::GLsizei, height as gl::types::GLsizei);
            gl::ClearColor(0.0, 0.0, 0.0, 1.0);
        }

        let shader = unsafe { gl::CreateShader(gl::COMPUTE_SHADER) };
        unsafe {
            gl::ShaderSource(shader, 1, &shader_name.as_ptr(), std::ptr::null());
            gl::CompileShader(shader);
        }

        let program = unsafe { gl::CreateProgram() };
        unsafe {
            gl::AttachShader(program, shader);
            gl::LinkProgram(program);
            gl::UseProgram(program);
        }

        let mut tex_out : gl::types::GLuint = 0;
        unsafe {
            gl::GenTextures(1, &mut tex_out);
            gl::ActiveTexture(gl::TEXTURE0);
            gl::BindTexture(gl::TEXTURE_2D, tex_out);
            gl::TexParameteri(gl::TEXTURE_2D, gl::TEXTURE_MIN_FILTER, gl::LINEAR as gl::types::GLint);
            gl::TexImage2D(
                gl::TEXTURE_2D,
                0,
                gl::RGBA32F as gl::types::GLint,
                width as gl::types::GLsizei,
                height as gl::types::GLsizei,
                0,
                gl::RGBA,
                gl::FLOAT,
                std::ptr::null()
            );
            gl::BindImageTexture(0, tex_out, 0, gl::FALSE, 0, gl::WRITE_ONLY, gl::RGBA32F);
        }

        let mut fbo : gl::types::GLuint = 0;
        unsafe {
            gl::GenFramebuffers(1, &mut fbo );
            gl::BindFramebuffer(gl::FRAMEBUFFER, fbo );
            gl::FramebufferTexture2D(gl::FRAMEBUFFER, gl::COLOR_ATTACHMENT0, gl::TEXTURE_2D, tex_out, 0);
            gl::BindFramebuffer(gl::READ_FRAMEBUFFER, fbo);
            gl::BindFramebuffer(gl::DRAW_FRAMEBUFFER, 0);
        }

        let resolution = unsafe { gl::GetUniformLocation(program, CString::new("iResolution").unwrap().as_ptr()) };
        unsafe { gl::Uniform2i(resolution, width as gl::types::GLint, height as gl::types::GLint); }

        Self {
            width : width ,
            height : height ,
            shader : shader ,
            program : program ,
        }

    }

    fn get_input(&self, name : &str) -> gl::types::GLint {
        unsafe { gl::GetUniformLocation(self.program, CString::new(name).unwrap().as_ptr()) }
    }

    fn input1f(&self, ptr : gl::types::GLint, f : gl::types::GLfloat) {
        unsafe { gl::Uniform1f(ptr, f) };
    }

    fn draw(&self) {

        unsafe {
            gl::DispatchCompute(self.width as gl::types::GLuint, self.height as gl::types::GLuint, 1);
            gl::MemoryBarrier(gl::SHADER_IMAGE_ACCESS_BARRIER_BIT);
            gl::BlitFramebuffer(0, 0, self.width as gl::types::GLint, self.height as gl::types::GLint, 0, 0, self.width as gl::types::GLint, self.height as gl::types::GLint, gl::COLOR_BUFFER_BIT, gl::LINEAR);
        }

    }

}

impl Drop for Renderer {

    fn drop(&mut self) {
        unsafe {
            gl::DeleteShader(self.shader);
            gl::DeleteProgram(self.program);
        }
    }

}

fn main() {

    let width = 512;
    let height = 512;

    let sdl = sdl2::init().unwrap();
    let video_sys = sdl.video().unwrap();

    let gl_attr = video_sys.gl_attr();
    gl_attr.set_context_profile(sdl2::video::GLProfile::Core);
    gl_attr.set_context_version(4, 1);

    let window = video_sys.window("test", width, height).opengl().build().unwrap();
    let _gl_ctx = window.gl_create_context().unwrap();

    let _gl = gl::load_with(|s| video_sys.gl_get_proc_address(s) as *const std::os::raw::c_void);

    let render = Renderer::new(width, height, &CString::new(include_str!("screen.comp")).unwrap());
    let time_attr = render.get_input("time");

    let mut event_pump = sdl.event_pump().unwrap();

    let mut time = 0.0;

    'main: loop {

        for event in event_pump.poll_iter() {
            match event {
                sdl2::event::Event::Quit {..} => break 'main,
                _ => {},
            }
        }

        time += 0.01;
        if time > 1.0 {
            time = 0.0;
        }

        render.input1f(time_attr, time);
        render.draw();
        window.gl_swap_window();

    }

}

screen.comp:
#version 430
layout(local_size_x = 1, local_size_y = 1) in;
layout(rgba32f, binding = 0) uniform image2D img;
uniform ivec2 iResolution;

uniform float time;

void main() {

    ivec2 iCoords = ivec2(gl_GlobalInvocationID.xy);

    vec2 uv = vec2(iCoords) / vec2(iResolution);

    vec4 pixel = vec4(uv, time, 1.0);

    imageStore(img, iCoords, pixel);

}

A: There is an issue when you generate the texture. The initial value of TEXTURE_MIN_FILTER is NEAREST_MIPMAP_LINEAR. If you don't change it and you don't create mipmaps, then the texture is not "complete".
Set the TEXTURE_MIN_FILTER to either NEAREST or LINEAR to solve the issue:
gl::BindTexture(gl::TEXTURE_2D, tex_out);
gl::TexParameteri(gl::TEXTURE_2D, gl::TEXTURE_MIN_FILTER, gl::LINEAR)

You've rendered an image from a compute shader to a texture object, but in order to blit that texture to the screen, you must copy that texture image to the color plane of the default framebuffer. It is not possible to change the default framebuffer's color plane simply by attaching a texture.
Instead, you need to create a named Framebuffer Object (glGenFramebuffers, glBindFramebuffer) and attach the texture object to the color plane of the framebuffer (glFramebufferTexture2D).
let mut fbo : gl::types::GLuint = 0;
gl::GenFramebuffers(1, &mut fbo);
gl::BindFramebuffer(gl::FRAMEBUFFER, fbo);
gl::FramebufferTexture2D(gl::FRAMEBUFFER, gl::COLOR_ATTACHMENT0, gl::TEXTURE_2D, tex_out, 0)

Bind this framebuffer to the target GL_READ_FRAMEBUFFER (glBindFramebuffer) and bind the default frame buffer (zero) to the target GL_DRAW_FRAMEBUFFER.
gl::BindFramebuffer(gl::READ_FRAMEBUFFER, fbo);
gl::BindFramebuffer(gl::DRAW_FRAMEBUFFER, 0);

Finally, in the render loop, use glBlitFramebuffer to copy the content of the named frambuffer object (the texture) to the color plane of the default framebuffer.
gl::DispatchCompute(width as gl::types::GLuint, height as gl::types::GLuint, 1);
gl::MemoryBarrier(gl::SHADER_IMAGE_ACCESS_BARRIER_BIT);
gl::BlitFramebuffer(
    0, 0, width as gl::types::GLsizei, height as gl::types::GLsizei,
    0, 0, width as gl::types::GLsizei, height as gl::types::GLsizei,
    gl::COLOR_BUFFER_BIT, gl::LINEAR);

Note, by the use of glBlitFramebuffer, the size of the viewport can be different to the size of the texture image.
This approach won't work if the format of the texture would be integral. It works, because the format of the texture image is floating point and the format of the default framebuffer is fixed-point.

A: Here's a revision with the suggested fixes and a few polishes:
extern crate sdl2;
extern crate gl;

//use sdl2::pixels::Color;
//use std::ffi::{CStr, CString};
use std::ffi::{CString};

fn main() {

let width = 512;
let height = 512;

let sdl = sdl2::init().unwrap();
let video_sys = sdl.video().unwrap();

let gl_attr = video_sys.gl_attr();
gl_attr.set_context_profile(sdl2::video::GLProfile::Core);
gl_attr.set_context_version(4, 1);

let window = video_sys.window("test", width, height).opengl().build().unwrap();
let _gl_ctx = window.gl_create_context().unwrap();

let _gl = gl::load_with(|s| video_sys.gl_get_proc_address(s) as *const std::os::raw::c_void);

unsafe {
    gl::Viewport(0, 0, width as gl::types::GLsizei, height as gl::types::GLsizei);
    gl::ClearColor(0.1, 0.30, 0.50, 1.0);

    let shader = gl::CreateShader(gl::COMPUTE_SHADER);
    gl::ShaderSource(shader, 1, &CString::new(include_str!("screen.comp")).unwrap().as_ptr(), std::ptr::null());
    gl::CompileShader(shader);

    let program = gl::CreateProgram();
    gl::AttachShader(program, shader);
    gl::LinkProgram(program);
    gl::UseProgram(program);

    let mut tex_out : gl::types::GLuint = 0;

    gl::GenTextures(1, &mut tex_out);
    gl::ActiveTexture(gl::TEXTURE0);
    gl::BindTexture(gl::TEXTURE_2D, tex_out);
    gl::TexImage2D( gl::TEXTURE_2D, 0, gl::RGBA32F as gl::types::GLint, width as gl::types::GLsizei, height as gl::types::GLsizei, 0, gl::RGBA, gl::FLOAT, std::ptr::null() );
    let mut event_pump = sdl.event_pump().unwrap();
    let mut fbo: gl::types::GLuint = 0;

    gl::BindImageTexture(0, tex_out, 0, gl::FALSE, 0, gl::WRITE_ONLY, gl::RGBA32F);
    gl::GenFramebuffers(1, &mut fbo);
    gl::BindFramebuffer(gl::FRAMEBUFFER, fbo);
    gl::FramebufferTexture2D(gl::FRAMEBUFFER, gl::COLOR_ATTACHMENT0, gl::TEXTURE_2D, tex_out, 0);
    gl::BindFramebuffer(gl::READ_FRAMEBUFFER, fbo);
    gl::BindFramebuffer(gl::DRAW_FRAMEBUFFER, 0);

    'main: loop {

        for event in event_pump.poll_iter() {
            match event {
                sdl2::event::Event::Quit {..} => break 'main,
                _ => {},
            }
        }

        gl::Clear(gl::COLOR_BUFFER_BIT);
        gl::DispatchCompute(width as gl::types::GLuint, height as gl::types::GLuint, 1);
        gl::MemoryBarrier(gl::SHADER_IMAGE_ACCESS_BARRIER_BIT);
        gl::BlitFramebuffer(
            0, 0, width as gl::types::GLsizei, height as gl::types::GLsizei,
            0, 0, width as gl::types::GLsizei, height as gl::types::GLsizei,
            gl::COLOR_BUFFER_BIT, gl::LINEAR);

        window.gl_swap_window();
    }

  }

}

redpajama_set_name: RedPajamaStackExchange


text:
Use of technology has transformed the day-to-day experience of seniors as much as it has for all of society.
In addition to a variety of activities sponsored by SAGE within the five boroughs of New York and across the US, this constituent plays virtual Wii bowling in the Great Room of the Senior Center.
A discrete audio loop system allows music and other social activities to be more fully enjoyed by SAGE Senior Center participants who use assistive hearing devices.
Proposed new complex for under-utilized land along the edge of an existing 1950s public housing complex, to include a family rental building (on the left), a senior rental building (centre), and a row of two-family townhouses on the narrowest portion of the irregular site. The new buildings are designed to preserve views from existing public housing to the adjacent city park while creating a continuous facade along the previously mapped but unbuilt street facing the park.
Press | April 1, 2014
Designing for a Lifetime: In New York and Other US Cities
By Christine Hunter and Jerry Maltz
In the next 30 years, the number of senior citizens in the US will increase to become larger than any other single age group. How are cities starting to prepare for this huge expansion in the numbers of over-65s?
Jerry Maltz and Christine Hunter of the Design for Aging Committee of the New York Chapter of the American Institute of Architects (AlANY) aided by Eric Cohen and Susan Wright, describe how New York and other US cities are laying the necessary groundwork through the World Health Organization's Age-Friendly Cities programme, while also setting up innovative centres for senior citizens, making much-needed modifications to the physical environment and developing new approaches to affordable housing.
Today US citizens are turning 65 at the rate of one every eight seconds¹, creating an oncoming 'silver tsunami'. Those in the baby boom generation, born between 1946 and 1964, have always constituted a population bulge, and over the next three decades the number of senior citizens will increase more rapidly than any other age group,² reversing the traditional pattern in which they are outnumbered by younger adults and children. US cities are starting to implement innovative approaches to accommodate this demographic shift.
In New York City, the senior population aged 65 and older is now more than 993,000,3 a number projected to rise to over 1.3 million by 2030. At 80.6 years, life expectancy is higher in New York than in the rest of the US, which means that the city will soon have not just more senior residents, but older ones, with many more living into their 80s and 90s.
A majority of seniors prefer not to move as they age and retire, but to 'age in place', remaining in the same home and/or community in which they have lived their adult lives. Evolving US healthcare policy also increasingly favours outpatient management of chronic conditions, so that long-term nursing homes are becoming less of an option even for the very frail. Because of the proximity of services, availability of public transit and pedestrian-friendly streets, urban environments accommodate aging in place more optimally than less densely populated communities. But there are challenges as well, and modifications must be made to allow older residents to remain both safe and independent.
In 2010 New York became the first American city in the World Health Organization's (WHO's) Global Network of Age-Friendly Cities. Criteria for 'age-friendliness' have been developed by the WHO to guide cities that 'wish to qualify for the Global Network. The American Association of Retired Persons (AARP), an established senior advocacy organisation, works with local officials and partner organisations in the US to identify communities and guide them through the implementation and assessment process. At present there are eight US cities and four counties in the AARP Network in addition to New York. The Age-Friendly Network targets improvements in eight domains of liveability that influence the health and quality of life of older adults: outdoor spaces and buildings; transportation; housing; social participation; respect and social inclusion; civic participation and employment; communication and information; and community support and health services.
Age-Friendly Districts in New York City
To spur compliance in these domains, New York has established an Age-Friendly NYC Commission with representatives from elected officials, government agencies, and private and non-profit organisations. It focuses on urban planning, modification of the built environment, and provision of social and medical services.
So far the commission has established four Age-Friendly Districts throughout the city's five boroughs. Staff members work with local civic groups and businesses to raise awareness and implement specific practices: shops provide seating areas, allow the use of their toilets, and utilise large-font signage; restaurants provide large-type menus; libraries and museums develop programmes including book lectures and tours of special exhibits; swimming pools establish times for sole use by the elderly; gyms organise exercise classes; Apple offers technology classes; food markets sponsor cooking classes; and hospitals hold lectures on healthy eating. Existing resources are used in new ways: school buses drive seniors to shopping areas in their idle hours; taxi vouchers are provided; and traffic lights are rescheduled to lengthen pedestrian crossing times. Capital investments, such as new taxis and bus shelters, arc designed with ageing in mind. Ruth Finkelstein, director of this Age-Friendly Initiative, notes that:
"The more deeply we get into this work, the more clear the centrality of design, architecture, and urban planning becomes. Architects can be the standard-bearers for an 'ageing-everything' approach to design, where we do not wait to develop age-friendly design for 'old age' dwellings, gathering places, and communities, but use age-friendly design for all our work -truly creating cities and communities for all ages."
Other US cities and states are establishing similar programmes. Mississippi, Texas and North Carolina now designate localities that meet certain criteria, such as offering quality medical care and recreational opportunities for seniors, as Certified Retirement Communities. Bloomington, Indiana, is designing a Lifetime Community District with retiree-friendly features like access to transportation and basic and preventative healthcare. In Auburn Hills,Michigan, city agencies collaborate to offer concerts, potlucks and fishing competitions, as well as a senior home-repair programme that uses volunteers who also provide services such as garden maintenance and decorating. Recipients pay for supplies, but not services, and there are no income restrictions. on-profits in Miami hold employer workshops encouraging businesses to employ older adults, and plan to use city parks for senior-targeted fitness programmes.1n other areas existing senior centres are modified as skills-development hubs, with computer training and entrepreneurship programmes.
Innovative Senior Centers
New York City has embarked on a programme to develop innovative Senior Centers offering social programmes that resonate with the identity and independence of their constituents. The centres are also charged with producing high participation rates and improved health. To this end they obtain baseline health information, track improvement, and provide education on nutrition and chronic disease management. Most importantly, their community connections provide reciprocity of intergenerational support and activities that have a longtime identity with their neighbourhoods, including gardening, theatre, or use of an Olympic-sized swimming pool. One centre is affiliated with Services and Advocacy for GLBT Elders (SAGE), the largest and oldest nationwide organisation serving lesbian, gay, bisexual and transgender older adults. In addition to culturally sensitive programmes that ease the sense of isolation felt by many GLBT ciders, resources include mental-health programming and health referrals and screening. Another centre in New York is Visions, which is the first organisation in the US to focus specifically on serving a blind and visually impaired senior population.
Since isolation contributes to health deterioration, services that allow seniors to maintain contact with friends, family and healthcare providers are also critical. A notable New York example is Selfhe1p Community Services, a nonprofit housing and social services organisation that has pioneered the creation of Virtual Senior Centers. Selfhelp provides such daily interaction for housebound elderly residents via computer technology within their apartments, which also allows them to participate in classes. In addition to established systems such as emergency nurse call cords in the bathrooms and bedrooms, the organisation provides remote-sensor technology connected to a computer program that recognises daily routines; the smart technology identifies out-of-the-ordinary situations and triggers an automatic alert.
Building lobbies and common rooms in Selfhelp senior housing are provided with Wi-Fi, video-conferencing stations, a computer room, telehealth and brain fitness kiosks, and exercise equipment. The telehealth system runs an array of vital medical tests, sending information directly to Selfhelp's registered nurses. In the event of a sudden or unexpected change in a resident's health or well-being, staff members can quickly intervene. Residents are also encouraged to use the Dakim cognitive stimulation and computer learning programs that offer engaging activities to enhance memory, mental agility and overall outlook.
Modifications to the Physical Environment
Improvements to public and private physical environments are also essential. Some cities are creating districts with wider pavements, and central reservations are being added to shorten crossing distances. Many stores have agreed to widen aisles and provide benches. Over the last few decades, compliance with federal laws such as the Americans with Disabilities Act and the older Fair Housing Act has meant that wider doorways and hallways, no-step entrances, improved railings, and grab bars or reinforcement for future grab bars are now standard in new buildings and major renovations. In addition, many localities are modifying zoning codes, allowing homeowners to add small apartments for family or caretakers.
A primary factor in determining the quality of seniors' lives is their home environment. The Design for Aging Committee of the New York Chapter of the American Institute of Architects (AlANY) recently organised an intensive one-day workshop, titled 'Booming Boroughs', to generate ideas at multiple scales for modifying existing New York City housing. The group focusing on individual apartments noted the importance of allowing residents to tailor their dwellings to their preferences. Lifelong possessions are important to seniors, and adequate storage and display space is essential. Ease of circulation and vistas are critical, and technology that facilitates communication beyond the apartment should be available. For low-rise buildings where there is no elevator, a basic mandatory 'toolkit' of modifications enabling seniors to better negotiate the physical barriers of this building typology was suggested. Improving and enlarging common spaces within higher-rise buildings was emphasised to promote interaction and accommodate services. Options for sharing large apartments and for moving frail residents to lower floors were also proposed. An important principle was to view life as a continuum, with ongoing potential for choice and control, and the goal at all ages of maintaining relevance.
Lessons can be learned from evolving changes in the low-income senior apartment developments built over the last 35 years under the federally sponsored HUD 202 programme. In a presentation at the New York Center for Architecture, Edelman Sultan Knox Wood Architects discussed building modifications they have designed for 202 projects. Many residents require more assistance and companionship as they age, making it desirable to increase on-site social and medical services. To draw people out of their apartments, lobbies are redesigned as social 'hangouts' with comfortable seating, daylighting and plants. Security guards at convenient stations can become social lubricants. Rooftops may be used for recreation. Colour aids wayfinding, and patterns in corridors can indicate directions and minimise the perception of distance. Judy Edelman has found that seniors prefer swing-out awning windows, as they are easy to operate and allow good views of the street – 'where the action is!'
Many of New York's seniors live in naturally occurring retirement communities (NORCs) – buildings or neighbourhoods with a high proportion of long-term residents who are now seniors. Numerous states have enacted legislation enabling qualifying buildings to apply for designation, and making them eligible for public funding of services. Today New York City contains 47 official NORCs. A surprising number are towers-in-the-park complexes that embody the 'going architectural orthodoxy of the 19605 and 1970s, when
generous government subsidy programmes existed for affordable housing. Many were built as limited-equity cooperatives, which enabled would-be residents to buy apartments at subsidised prices, but also set sales prices below-market. Without economic incentive to leave, the co-op owners have tended to remain. Nowadays when limited-equity cooperatives are no longer built, alternative models are needed to support ageing in place. Rather than towers in superblocks, current city policy favours mixed-use, high-density development that maintain generational and economic diversity as well as strong connections to surrounding neighbourhoods.
Recent Approaches to Affordable Housing
A recent approach by the NYC Housing Authority (NYCHA) is to offer the often under-used open space in its existing towers-in-the-park projects for additional housing construction. The sale of land generates much-needed revenue for the authority and the new affordable housing includes units for seniors who can then vacate larger units within NYCHA's buildings, making them available for larger families. At Soundview Houses in the Bronx, two car parks at the edge of the site are being redeveloped as a mixed-use residential complex with three components: a family rental building with one- to three-bedroom units, a senior rental building with mostly one-bedroom units and more common space, and a row of moderate-income two-family houses for home ownership. Designed by Magnusson Architecture and Planning, the massing of the new complex mediates between the surrounding lower-rise neighbourhood and the original towers-in-the-park public housing, and will include construction of a long-mapped but unbuilt street facing a city park.
Another recent example is Via Verde (the Green Way), a mixed-use, multi-generational, affordable housing complex in the Bronx located on a former brownfield site. The 222-unit development, designed by Dattner Architects with Grimshaw Architects, contains a combination of co-op and rental apartments, from studios to three-bedrooms, suitable for individuals living alone or seniors living with their families. There are simplexes and duplexes, some of which are live-work units in a townhouse arrangement with private entrances directly from the street. The building's stepped form features a spiralling series of gardens that creates a promenade for residents and acts as a symbolic centre for the. Via Verde community. A public plaza located on the north side of the building can accommodate bi-weekly farmers' markets to support Via Verde's many healthful initiatives for its residents and nearby neighbours.
The Via Verde building has been designed for sustainability, and exceeds existing guidelines for environmental responsibility. Ninety per cent of the apartments have two exposures, allowing for optimal cross-ventilation and daylight. Operable, high-performance windows, ceiling fans and exterior solar shades provide residents with natural ventilation and shading during summer. To promote physical fitness, stairs are designed as colourful interior spaces with natural light and ventilation. Outdoor stairs from the courtyard to the seventh floor provide for a continuous connection among the rooftops, which include an evergreen grove, orchard and urban farm. The rooftops are also accessible by elevator.
Since land values in almost all US urban centres have been rising more rapidly than in suburban locations, affordable senior projects in cities other than New York also have to cope creatively with challenged and marginal sites. Just south of Los Angeles' growing downtown, and immediately adjacent to the 1-10 freeway, the New Carver Apartments designed by Michael Maltzan Architecture explore how architecture can create new possibilities for the city's vulnerable, under-served residents. The project's 97 units provide permanent housing for formerly homeless elderly and disabled residents, By incorporating communal spaces – kitchens, dining areas, gathering spaces and gardens – into the Carver's raised form, as well as medical and social service support facilities into the plinth beneath, the project encourages its residents to reconnect not only with each other, but also with the world outside its doors.
Confronted with a significant level of ambient noise from passing traffic, the form of the New Carver Apartments creates a sound buffer by minimising the building's area directly opposite the freeway; smaller-scale facets position unit windows perpendicular to the direction of sound, further shielding the unit interiors. As traffic passes from east to west, the building's facade transforms itself as its saw-tooth facets open to view. The architecture urges residents to connect with the urban context at multiple scales and from the multiple vantage points throughout the building.
What We Are Learning
The practices and specific projects discussed in this article illustrate some common themes: designing multi-generational communities, modifying existing neighbourhood places to make navigation easier for all age groups, providing a variety of services/facilities within residential buildings, designing new buildings to encourage interaction with the surrounding community, and building on difficult sites that were previously considered marginal or unuseable. The US' increasingly urban population and changing demographics will require continued efforts towards accommodating people in higher-density, pedestrian-oriented communities and creating places that enable people of all ages to live as independently and safely as possible for as long as possible. Or, put more simply, designing for a lifetime. This involves not only the home itself, be it a single-family house or a multiple dwelling, but the entire neighbourhood of human created interior and exterior spaces.
1. Information based on data from the US Census Bureau and the Social Security Administration, presented by US Representative David Schweikert of Arizona in a C-SPAN interview aired on 4 May 2011: www.azcentral.com/news/election/azelections/azfactcheck/fact-story.php?id=242.
2. New York City's Department of City Planning, New York City Population Projections by Age/Sex & Borough 2000-2030, Briefing Booklet, December 2006: www.nyc.gov/html/dcp/pdf/census/protections_briefing_booklet.pdf.
3. New York City's Department of City Planning, 2010 Demographic Tables: www.nyc.gov/html/dcp/html/census/demo_tables_2010.shtml.
4. World Health Organizatlon (WHO), Global Age-Friendly Cities; A Guide, 2007: www.who.int/ageing/age_friendly_cities_guide/.
5. AARP, AARP Livable Communities; Great Places for All Ages, 10 May 2013: www.aarp.org/livable-communitles/network-age-friendly-communities/.
6. Ruth Finkelstein, 'Towards an Age-Friendly New York City: An Overview' talk at the Center for Architecture, New York, 5 April 2011.


Ensure that your philanthropy is as personal, meaningful and impactful as possible.
People come to us with a vision of making our community a better place. We specialize in creating unique plans for donors that speak directly to their particular giving interests. While some donors understand fully the causes they want to support, others look to us for guidance in determining where community needs are greatest. We are always available to answer questions and to help donors make informed giving decisions.
We'll work with you and/or your advisers to design a giving plan suited to your charitable and financial goals. Once your plan is in place, we can also take care of the paperwork, financial reporting, taxes, grant making, asset management and research into organizations.
You can give a variety of assets to receive the financial and tax benefits that best suit your needs. When comparing community foundations and private foundations, you will find that community foundations are not subject to certain taxes and regulations that affect private foundations.
Many of our fund options give you a range of opportunities to become directly involved in grantmaking. Our staff's broad community experience touches any issue or organization that you may wish to support or learn more about.
Our funds are invested by some of the top financial advisors. Our experienced financial managers balance good return against protection of principal and capital. Investments are regularly reviewed by our Investment Committee and Board of Trustees for conformance with the Foundation's established policies and practices.
All information concerning prospective donors and current or past donors is confidential. Prospective donor and donor information is accessible only to authorized personnel. Donor requests for anonymity will always be honored. Public announcements or other publicity about gifts are the responsibility of the Community Foundation of Greater Dubuque. Donors or members of a deceased donor's immediate family and their advisors will be consulted and their approval obtained before gifts are made public. Exceptions to this confidence will be made when the Community Foundation of Greater Dubuque is required by law to make information available to the Internal Revenue Service, other federal agencies, and/or state agencies.


text:
Watch: New Scream Promo Reveals First Look At The Return Of David Arquette's Dewey
Ashley Marie Sep 29, 2021 11:18 am Sep 29, 2021 11:18 am
Some movies are sort of a gateway to scary films; you watch the first one, and you're hooked. Scream is one of these, and also one of the best slasher films of all time. It's got everything you want in a horror movie; sex appeal, parties, a chilling feeling that someone is always around any corner, and a storyline that brings it all together in a way that says "it could happen to you."
Wes Craven's work of genre deconstruction is still a favorite of ours; we're talking about the kind of movie we could watch a couple of times a month and not tire of. The Scream franchise has four films already, and a 5th installment is scheduled to open in theaters early next year. Similar to the original, the upcoming film is just titled Scream and intended to be a relaunch of the series, and fans can't wait.
Ghostface is an icon of horror, and while many have taken on the role of the killer, Skeet Ulrich as Billy Loomis and Matthew Lillard as Stu Macher still reign supreme. There's nothing like that first movie that sets everything into motion.
As the lead-up to Scream is officially upon us, we're getting a look at a returning favorite, David Arquette, as Dewey in a tweet inviting fans to book their stay at the house that started it all.
Dewey is a fan favorite, and he doesn't ever have the easiest road in the films, but he's fantastic, and we can't wait to see him in the 2022 film. Here's a look at Arquette in character as he welcomes you home to Woodsboro for a scary movie marathon.
You're not scared are you? Learn how to book your stay @airbnb & see the new SCREAM in theaters January 2022 @ScreamMovies pic.twitter.com/ZRm4q1SucI
— David Arquette (@DavidArquette) September 29, 2021
You can see Scream in theaters from January 2022.


text:
Das Stadhuis ist das ehemalige Rathaus von Geervliet (Gemeinde Nissewaard) in der niederländischen Provinz Südholland. Das Gebäude ist Rijksmonument unter der Nummer 9364.

Geschichte
Das Stadhuis geht in seinen ältesten Bauteilen auf die mittelalterliche Gasthuiskapel (deutsch: Hospitalskapelle) zurück, die 1346 durch Beatrijs van Putten  gestiftet wurde. Heute ist dieser gotische Baubestand noch an jeweils einem Maßwerkfenster an der West- und Ostseite des Gebäudes erkennbar.

Die Kapelle diente seit dem Beginn des 16. Jahrhunderts als Rathaus und wurde 1633 um ein  Stockwerk erhöht. Im 17. und 18. Jahrhundert wurde das Gebäude weiter ausgebaut. Im Zuge einer Renovierung 1964/66 wurde der Kuppelturm im Stil des 17. Jahrhunderts hergerichtet.

Literatur
 Monumenten in Nederland. Zuid-Holland, Zwolle 2004, S. 168.

Weblinks

Einzelnachweise

Geervliet
Nissewaard
Geervliet
Denkmalgeschütztes Bauwerk in den Niederlanden
Profaniertes Kirchengebäude in den Niederlanden
Krankenhauskirche
Bauwerk in Zuid-Holland
Geervliet


text:
9/24/19 (Tu.) 10:00 PM VICELAND (#105) The Burden of Truth
9/17/19 (Tu.) 10:00 PM VICELAND (#104) Another Dead Boy
9/10/19 (Tu.) 10:00 PM VICELAND (#103) Did the Devil or Disorder Make Him Do It?
9/3/19 (Tu.) 10:00 PM VICELAND (#102) A Punk Knows Where the Bodies Are Buried
8/27/19 (Tu.) 10:00 PM VICELAND (#101) There's a Satanist in the Suburbs
DEVIL YOU KNOW, THE (VICELAND)
(from Viceland's press release, August 2019) VICELAND has announced the premiere dates for its first foray into serialized true crime storytelling: The Devil You Know as well as a U.S. premiere of VICE co-founder Suroosh Alvi's acclaimed 2016 docu-series Terror. Both series will bow on the network Tuesday August 27 at 10:00 and 9:00PM, respectively. Set in a small suburban community just outside of Winston-Salem, North Carolina, the five-episode true crime series The Devil You Know focuses on a local suburban legend, John Lawson, a self-styled Satanist who renamed himself "Pazuzu." When two missing individuals' bodies turn up at his house, the rumors of this Charles Manson-like figure whose house was a non-stop parade of sex, drugs, guns and loud music take a darker and more troubling turn. The series follows every twist around the crime, the mishandled investigation, the legal case as well as the underlying economic inequality inherent in the story. The show features interviews with the journalists who chased the story, authorities, friends and neighbors of "Pazuzu" as well as people close to the victims to try to understand the twisted depths of this story from every angle.
· Abby Lynn Kang Davis as EP
· Gena Konstantinakos as EP (Viceland)
· Kevin Iwashina as EP
· Michael Kronish as EP (Viceland)
· Nomi Ernst Leidner as EP (Viceland)
· Patricia E. Gillespie as DIR/EP
· Rachel Traub as EP
· Preferred Content
· Vice Studios


The CDS xDrive will revolutionize direct drive and PTO truckmounts in the cleaning and restoration industry with computer programmed operational precision.
The CDS xDrive uses the power and heating source already provided by the host vehicle engine.
The concept behind the revolutionary, game changing technology of the CDS xDrive lies in the XCCELERATED Drive System. Power delivery and performance is no longer measured by horsepower.


text:
Articles from page 2: Previous page Next page
{No abstract available}
Advertising : 10,055 words
(1900, December 18). The Sydney Morning Herald (NSW : 1842 - 1954), p. 2. Retrieved January 19, 2022, from http://nla.gov.au/nla.news-page1345627
The Sydney Morning Herald (NSW : 1842 - 1954) 18 December 1900: 2. Web. 19 Jan 2022 <http://nla.gov.au/nla.news-page1345627>.
1900, The Sydney Morning Herald (NSW : 1842 - 1954), 18 December, p. 2. , viewed 19 Jan 2022, http://nla.gov.au/nla.news-page1345627
{{cite news |url=http://nla.gov.au/nla.news-page1345627 |newspaper=[[The Sydney Morning Herald]] |issue=19,584 |location=New South Wales, Australia |date=18 December 1900 |accessdate=19 January 2022 |page=2 |via=National Library of Australia}}
Print page as...
Download this... Page Issue
as... PDF PDF
The Sydney Morning Herald (NSW : 1842 - 1954), Tue 18 Dec 1900, Page 2
This article has been corrected by Voluntroves


Nybble Group | Smarter Teams, Better Solutions.
Our Passion Defines Why and How We Do It!
We are a smarter team, the team that gets things right – the first time. We know that when you put together the right people with the right process and the right technologies you can unleash a powerful transformation force that can spark new ideas and innovation.
Our goal-based approach ensures a seamless integration with your team and delivers better solutions. We care a great deal about integrity, openness, honesty and open collaboration. We believe that if you do what is right, good things will happen.
Business Process Management (BPM) is the next natural step in the evolution of any business that wants to go beyond the transactional efficiencies accomplished with Enterprise Resource Planning (ERP) to achieve competitive advantage.
Nybble Group uses the latest workflow and business process management technologies designed to streamline and tailor business processes to your organization's needs, delivering truly seamless, end-to-end management of tasks, execution and automation of end- to-end business processes, improving cross-departmental processes and leveraging process efficiency and excellence as a means to drive strategic advantage. Our solutions increase productivity, reduce error rates, and eliminate tedious manual tasks.
The high degree of manual processing still existing in most companies is costly and slow, and it can lead to inconsistent results and a high error rate... too many processes still rely on people and paper. Research indicates that a significant opportunity exists to increase the levels of automation in back offices. Robotic Process Automation (RPA) represents an opportunity to transform the back and front office and improve business performance across the entire organization by reducing process costs, increasing speed and improving accuracy.
Nybble Group leverages the most advanced RPA technologies and platforms to provide the capability for automating processes that would otherwise be executed manually by humans or through extensive proprietary customization of existing IT systems, resulting in a higher level of automation with a significantly lower level of investment and greater speed to deployment. Nybble Group also offers a methodology to support adoption which furnishes organizations with tools and approaches that define the business case, engage the relevant stakeholders appropriately and maximize the scope of the potential and on-going benefits that are delivered.
ODOO is the world's most customizable, reliable and advanced Open source ERP solution. The open source model of ODOO has allowed thousands of developers and business experts to build hundreds of apps in just a few years. With strong technical foundations, ODOO's framework is unique. It provides top notch usability that scales across all apps.
ODOO is a comprehensive suite of business applications including CRM, Sales, Order Management, Accounting, Finances, Purchase, Warehouse Management, Production, Human Resources, Payroll Accounting, Project Management, Business Intelligence, CMS, E-Commerce and several other modules that are available for integration.
ODOO is the all-in-one management so-ware that is beautiful and easy-to-use giving you everything you need to grow your business within a top notch user experience.
Nybble Group has been successfully providing near-shore, remote development services for more than 10 years to different companies in the US and Canada. We know this model very well.
We have resources with proven experience in various platforms. Most of them are our own personnel, and others are people that we have access to through our curated network of partners, always keeping the management and coordination under Nybble Group's control.
Nybble Group's culture didn't happen overnight. It's the result of our long-standing belief that if you do what is right, good things will happen.
Core values and mission statements don't make a culture. You can't give people a list of rules to live by and expect a change of heart. That said, we do have a set of core values. These are short, simple reminders of who we want to be and how we want to live. Putting these in writing has helped us hold each-other accountable and guide our culture toward a clear target.
We have more than 15 years of delivering projects on time and within scope, learning and improving our process and services with every one of them.
Our team was in charge of the architecture, design and development of a new Digital Signage platform that our client Sony/Convergent was to deliver to Coca-Cola. The tool, built in .NET/MVC and SQL Server, had to integrate with Convergent's media delivery infrastructure to deliver media content to thousand of media players across USA.
It included an advanced delivery and marketing rule engine and a complex scheduling component that had to deal with the various campaigns and the needs of the marketing team at Coca-Cola.
This was a intensive project for a key account of our customer. We were able to integrate with their team and eventually when their Development Manager and Project Manager suddenly left the company we took over the project reporting directly to the company's management, helping them to continue with the project while they looked for replacements.
The project followed an agile/scrum based methodology which was followed by our team and we were able to fulfill the goal and had Coca-Cola using the product in production as expected. After the production launch we continued to provide support to Convergent and Coca-Cola.
We were hired to design, development and ongoing support for the website and different online campaigns and initiatives. In the beginning (2013) we effectively and quickly on-boarded a Drupal team to take care of the current PetsPlusUs website and plan for a new version of it. Later we participated of a project involving a complete revamping of the website and applications where we also had a Java team working on the new quote implementation. We interacted with the ESB team on RSA' side as well as with Aquarium, PetsPlusUs' provider for their policy processing backend software. We also worked with the integration of the email marketing tool SilverPop.
Our team was able to integrate seamlessly with RSA's team and processes while creating a strong/healthy relationship with both RSA's technical team and PetsPlusUs's management.
We provided technical advice to the project stakeholders and were in charge of not only the development but of the whole deployment cycle following RSA's guidelines and processes for all we did.
We helped RSA implement for its pet insurance company, PetsPlusUs, an effective B2C portal with a dynamic Quote Journey completely integrated with the company's backend policy management systems, along with online marketing campaigns using automated workflows (based on SilverPop email marketing tools) to enhance the communication with PetsPlusUs customers and prospects.
We started this project by evaluating the company's processes and systems and defining a plan to help them become much more effective and reduce costs, as they were planning for a big increase in customers and policy management. We proposed to implement a BPM solution that initially involved to evaluate and optimize their regular processes and then implement a solution based on Camunda BPM (Activiti BPM) for the modeling and processes engine, a data integration layer built on Java and a customized front-end built with AngularJS.
On top of the internal enterprise tool designed for NorthStar's team, we also designed and implemented a new Client Portal for the company brokers to access all the information about policies and portfolios, with a state of the art Dashboard showing KPIs and key information.
This is a project where we not only provided the necessary resources, but we also were in charge of the problem assessment, solution design/architecture, project management, development, testing and implementation. Through a series of on-site workshops we were able to quickly understand the business model and the company needs, interact with the different departments to map their current processes and work with them to define optimized models and workflows that even allowed for processed automation, resulting in a lot less work for each task and also minimizing the people needed for them, making these people available for more value-adding tasks.
Weather.com is the highest trafficked Drupal site in existence, serving more than 100 million people per month…on a normal month. In October 2016, during Hurricane Mathew's episode, it served more than 6 million page views per hour.
We assigned for The Weather Company (an IBM business) a team of up to 17 people working in different projects, both for software development and Testing/QA Automation. Our people worked in projects related with both Weather's core CMS platform implementation (based on Drupal + AngularJS in a semi-decoupled architecture) and other properties like WeatherUnderground.com, where our team was in charge of the migration of that recently purchased company to Weather's framework and technologies. Our test/QA team worked for both initiatives. All the projects that our teams participated had a high priority on Weather's B2C and B2B business goals for their Digital campaigns.
We started working with The Weather Company in 2015 with 2 Drupal developers and quickly augmented the team to 17 people, expanding from Drupal to AngularJS/React development and QA including test automation. Our team integrated into Weather Channel's agile processes based on Scrum, interacting on a daily basis with the client's contacts via conferencing tools, JIRA and Slack. Besides purely responding to assigned tickets on-time, some of our resources were involved in architecture definitions and others had to replace Weather Channel's own resources when they were not available.
Online Platform with Social Network features that helps women organize their closets. Outfit Combination Engine that automatically detects possible combinations of the different garments that a user may have. eCommerce integracion using contextual suggestion of garments that can complete an outfit combination.
Online Store dedicated to a curated catalog of Pet Products. Advanced integration with automated email workflows to maximize sales thru Cart Abandonment, Cross-Selling and Win-Back processes. Complete CMS to manage catalog and editing of complex product Landing Pages. Full data tracking for behavioral segmentation.
We Listen. We Work. We Deliver.
Do you want to learn more about Nybble Group and the possibilities of partnering together for a project? Do you want to explore the idea of joining our team? We'd love to hear from you!
© Copyright 2016 by Nybble Group S.A.


Of shinning armor and handsome knights.
Greece - An absolute delight!
Sun kissed beaches with light breeze.
Roads lined with Olive trees.
Greece - A charming feat!
A rare combination of modern and obsolete.
Mykonos, Delphi - Heavens within your reach.
Greece - With age vistas turned sweeter.
Juggle to find flights, hotels and rental car.
Being a smart traveller in corporate bazaar.
Or simply surf the website of SkyScanner.
Download necessary apps and online check-in.
And let the journey begin.
I want to go there Indeed!
That was a poetic treat to great sights in Greece! Best of luck Saru for the contest!
Lovely! The pictures add a magical touch to the post :) Wish you good luck!
Very nice and creative. Loved the poem and the choice of destination!!
Travel blog in a poetic language.. wow!!!
Oh, I'm so wishing to visit Greece. It's next on my list.
Loved the format and the sketches. Greece, I think Karthik also wrote about it. It does seem like a dream destination. Uff so many places to travel to and so little money :). Good luck, Saru! Quite liked this post!
The Blue rooftops of Santorini is my favorite of all. Greece sure is the place to be.
You just replaced Spain by Greece as my dream place to go :)....very innovative poem btw...Must have been mighty hard to write this...worth the effort !
I already crave to visit Greece and this poem made my desire stronger!!
Those were nice flowery words about Greece.
But somehow these didn't tempt me to visit, cos I think if more was written about what unique things could one do there - then it'd have been more alluring. This was more about what's been there already. But a nice one.
This is really a nice poem. I really enjoyed it.
Rathina, Ronita, Archana, Amrit, Sanjay and Anita - Thank you so much guys!
Lovely post...you deserved better prize..
Ah, that's really sweet of you. Your comment is a prize in itself. Thanks and welcome here.


text:
Carey Chenoweth Shuart Papers
The full finding aid is available on TARO: https://legacy.lib.utexas.edu/taro/uhsc/00108/hsc-00108.html
Mrs. Shuart's papers are organized into three sections. The collection documents contributions to the University of Houston and contains materials relevant to her interests dating back to the mid 1980's. Her efforts as a working member of several University of Houston committees and boards are extensively represented. Mrs. Shuart's papers also lay testament to her acquaintances with a number of very effective women such as Molly Ivins, Ann Richards, Renu Khator and Marguerite Ross Barnett among many others. Additionally, the papers contains various memorabilia collected by Shuart throughout the years, such as mementos from the 100th Anniversary Olympics in Atlanta, Georgia and from her years as a fan of the Houston Comets, a winning woman's basketball team.
Shuart, Carey Chenoweth (Person)
Carey Chenoweth Shuart, a Houston native, is well known in the University of Houston community for her volunteer endeavors and welcome donations. She has been instrumental in initiating many positive changes and developments at the University. In 1991, she joined a steering committee of UH volunteers who established and edited the UFriends newsletter for UH Community circulation. She successfully advocated for the Honor's Program to become the Honor's College in 1992, and founded and served on its advisory board for almost six years.
Most recently, Carey Shuart was a founder and President of Friends of the UH Women's Studies Program from 1992 to 1999 and currently serves on the Friends of Women's Studies Advisory Board. She played a significant role, in conjunction with Cynthia Freeland, the original WOST Director, and her successor Elizabeth Gregory, in the financial development, growth and advancement of the UH Women's Studies Program and the establishment and funding of the thriving Women's Archive and Research Center (WARC).
Mrs. Shuart has been acquainted with a number of interesting and productive women, including the late Governor Ann Richards, the late UH President Marguerite Ross Barnett and the late columnist Molly Ivins. She was a member Ann Richards' Leadership Council in 1991. A member of the UH External Relations Committee under the first woman President Marguerite Ross Barnett, Shuart inherited Dr. Barnett's presidential desk upon her untimely death in 1992.
Carey Shuart's dedication and generosity to the University of Houston continue to be made manifest with abundant volunteer service and timely donations. These have been acknowledged with the 1992 Outstanding Volunteer Award from the Division of University Relations and the Alumni Chair's Award from the University of Houston Alumni Association in 2009. This very good friend of WARC in particular and UH in general has also been recognized in Who's Who in American Women, Who's Who in America, and Who's Who in the World.
Donated by Carey Shuart in 2005
Shuart, Carey Chenoweth
Guide to the Carey Chenoweth Shuart Papers
Sharleen Guide
Carey Chenoweth Shuart Papers. Special Collections, University of Houston Libraries. To cite a specific item from this collection, please consult the most recent edition of your style manual for the proper formatting. See the Citing Special Collections Materials page for more information. https://findingaids.lib.uh.edu/repositories/2/resources/230 Accessed January 21, 2020.


text:
Home › Articles › Stolen Umbrellas: Fumbling into the Kingdom of God
Stolen Umbrellas: Fumbling into the Kingdom of God
Dr. Tom Neal
G.K. Chesterton once said that his umbrella helped reveal to him why he knew the Catholic Church was for him. He said that whenever he went to non-Catholic churches, he would customarily leave his umbrella by the back door during the worship service. In these churches, his umbrella would always be there waiting for him when he went back out. But the first time went into a Catholic church to hear Mass, his umbrella disappeared from the back of the church. Someone had stolen it.
His conclusion? If the Catholic church offered such a generous and open doorway to the rabble, being a home for both sinners and saints, then he had indeed found a home where he could also fumble along into the kingdom. He also added, "Every one on this earth should believe, amid whatever madness or moral failure, that his life and temperament have some object on the earth. Every one on the earth should believe that he has something to give to the world which cannot otherwise be given."
A gentleman I knew in Florida, a cantankerous old salt, said to me once,
You know, it takes all the strength I can muster to hold back one biting remark. I used to get discouraged, but a priest once told me in Confession, "You know, Jesus looks on your one effort to refrain from an unkind remark as having far more value in his eyes than the thousand kind words spoken by someone who is naturally kind. God just wants small heroisms from you that no one will ever notice." That made my life much more bearable.
In moral theology, the "law of gradualism" allows us to see that God takes human beings as they are, meeting them in their real-world circumstances with all their present strengths and weaknesses, and leads them along the way to take the next best step. The heights of holiness for one will look very different than the holy heights of another. In the realm of holiness, appearances are indeed deceiving. If we simply take the abstract demands of the moral law, or some single pristine image of mystical sanctity, and lay these on people without respect to who they are, with their real limits and varied life circumstances, we set them up for despair, or for cycles of guilt and shame, or for an unsustainable and delusional pursuit of perfectionism.
While we never bend the moral law to accommodate human weakness, we do confess faith in a God who bends down (descéndit de cælis) to meet the fallen sinner on the ground in order to love her into life, to heal her and raise her up. We have no need for God to canonize or condemn us, but to have compassion on us so we can carry on each day with hope.
I need this God.
"The steadfast love of the Lord never ceases, his mercies never come to an end; they are new every morning; great is your faithfulness" (Lam. 3:22-23).
Pope Francis gave us the Year of Mercy in 2016 to remind us of this marvelous place between lax indulgence and priggish perfectionism called mercy. Mercy is the most human aspect of our faith. It embraces our broken human condition and empowers us to rise from the ashes. Mercy permits us to become more human, after the image of Christ who "fully reveals man to man himself and makes his supreme calling clear" (Gaudium et Spes, 22).
The Church is not a museum of saints, but a hospital for sinners. I see clearly that the thing the Church needs most today is the ability to heal wounds and to warm the hearts of the faithful; it needs nearness, proximity. I see the Church as a field hospital after battle. It is useless to ask a seriously injured person if he has high cholesterol and about the level of his blood sugars! You have to heal his wounds. Then we can talk about everything else. Heal the wounds, heal the wounds. And you have to start from the ground up.
The Church sometimes has locked itself up in small things, in small-minded rules. The most important thing is the first proclamation: Jesus Christ has saved you. And the ministers of the Church must be ministers of mercy above all. The confessor, for example, is always in danger of being either too much of a rigorist or too lax. Neither is merciful, because neither of them really takes responsibility for the person. The rigorist washes his hands so that he leaves it to the commandment. The loose minister washes his hands by simply saying, "This is not a sin" or something like that. In pastoral ministry we must accompany people, and we must heal their wounds. (Pope Francis, 2013 interview with La Civita Cattolica)
Dr. Tom Neal presently serves as Academic Dean and Professor of Spiritual Theology at Notre Dame Seminary in New Orleans, Louisiana and has a particular passion for exposing the unlimited potential of theology to offer the faithful a deeper sharing in the mind and heart of Jesus Christ. He has worked for twenty years in adult catechesis, retreat ministry and teaching theology in various contexts trying to make present for others the "Word made fresh." Tom received a Masters in Systematic Theology from Mount St. Mary's University and a PhD in Religion at Florida State University. His Masters studies focused on the Orthodox theology of salvation known as theosis, and his doctoral studies concentrated on the socio-historical contexts within which late medieval mysticism flourished in Spain. His dissertation was on the Teresian Carmelite reform and the construction of ascetical identity in the writings of St. John of the Cross. While he loves to continue his work on general topics of spiritual theology, especially inasmuch as they relate to priestly formation, Tom has dedicated much of his energy more recently to theological reflection on the vocation and mission of the lay faithful to be "secular saints" whose essential labor is to consecrate the world itself to God by faithfully living out their personal vocations in the world. He believes that the Church has yet to produce a proper theology of "lay secularity" and, consequently, a robust vision of spirituality that is suited to those whose primary path to perfection is to be found in engaging in temporal, secular affairs. His hope is to make a small contribution to that development. Originally from Rhode Island, Tom has lived over the years in Massachusetts, Connecticut, Maryland, Florida, Iowa and (presently) New Orleans, Louisiana. His wife and four children live in Metairie, LA and they love being called to be saints among Saints. Find more of Tom's writing at his blog, Neal Obstat.
More From Dr. Tom Neal
Gospel of Love: 20 Secrets to a Holy Marriage
Christ is Eternal: Sell Your Cleverness and Purchase Bewilderment
The Church Where Your Umbrella Gets Stolen
WOF 041: G.K. Chesterton, The Evangelist
Why You Should Read G.K. Chesterton (Even When It's Hard)
Matthew Nelson
What G.K. Chesterton Taught Me About the Danger of "Dislocated Humility"
Dr. Tod Worner
Saint G.K. Chesterton? An Interview with Dale Ahlquist
Brandon Vogt
G.K. Chesterton and "This is Us"
Jared Zimmerer
G.K. Chesterton - Print
G.K. Chesterton - Individual Episode
G.K. Chesterton - Framed Print


text:
Q: problemas com node Comprei um curso porém eu digito exatamente oque o professor escreve mas meu node não esta iniciando o servidor, já tentei o taskkill já fiz de tudo ele finalizou um processo mas mesmo assim ele não esta iniciando o site, só fica carregando e nada, não sei mais oque fazer e como não vi problema semelhante resolvi perguntar.
esse é o código do database:
const Sequelize = require('sequelize');

const connection = new Sequelize('guiapress','root','8220',{
    host: 'localhost',
    dialect: 'mysql'
});

module.exports = connection;

e esse do index.js: const express = require('express');
const app = express();
const bodyParser = require('body-parser');
const connection = require('./database/database');

app.set('view engine','ejs');

app.use(express.static('public'));

app.use(bodyParser.urlencoded({extended: false}))
app.use(bodyParser.json);

connection
     .authenticate()
     .then(() => {
        console.log('sucesso')
    }).catch((error) => {
        console.log(error)
    })

app.get('/', (req,res) => {
    res.render('index');
})

app.listen(8220, () =>  {
    console.log('o servidor esta rodando')
});


text:
14 Day End to End Larapinta Tour
Join our 14-day Larapinta Trail tour and experience the magnificence of the Australian Outback up close.
Located in the heart of Central Australia, the Larapinta Trail passes through 223 km of the spectacular central section of the West MacDonnell Ranges, Australia's 2nd largest mountain range.. Extending west from Alice Springs to Mount Sonder, this ancient landscape offers endless scenery and cultural history that will take your breath away. From epic ridge and mountain top vistas, to hidden gorges and pristine desert waterholes, it's no wonder Larapinta Trail's dramatic scenery is world renowned.. Our Larapinta end-to-end tour will appeal to any experienced trekker looking to witness the grander of the Australian Outback. With abundant wildlife and rugged beauty in all directions, you'll leave with a restored sense of peace and a deeper appreciation of nature.
Approximately US $3,595.57 – $3,883.85*
Operated by Walking Country
30 Kidman Street, Ciccone, Northern Territory, 0870, Australia
Walking Country
Road trips Choose journey Arnhem Way Binns Track Explorers Way Greater Litchfield Loop Nature's Way Outback Way Overlanders Way Red Centre Way Savannah Way Flight paths Choose flight path Domestic flights to Alice Springs Domestic flights to Darwin


I get control over all the electronics, and she gets control of everything else. That's the deal we made with each other at the beginning of the project. After all, being the manager of the residential systems division and lead residential systems designer at All Pro Sound, would you expect me to not do something special in my own home? After 17 plus years of doing it for everyone else, I was getting to do it for me…and Laura, my wife.
My first decision was to do a completely integrated system. Integrating all subsystems including audio/video, automated lighting control, HVAC (heating, ventilation, and air conditioning) control, security control, and motorized window treatments. I let Laura pick out the colors of the wall-mounted devices, such as the lighting and shading control keypads and touch screens. She also picked the fabrics for the motorized window treatments.
The electrical-lighting control system has 89 zones or circuits of light. In a non-automated-lighting home, this would represent how many light switches your home would have. Instead of having 89 light switches, I have 22 keypads with up to seven buttons per keypad. The keypad is the same size as one light switch. One reason an automated lighting system is desired is the fact that one keypad can eliminate a location that might have had five to seven light switches. Interior decorators appreciate the fact that we can eliminate a lot of wall clutter with an automated system. With a single button press of the system, I can turn all lights in the house on or off. I might want an "all off" feature to shut down the home when we leave. The "welcome" scene might turn on some of the lights in the common area of the house upon arrival. The "entertain" scene will turn on more lighting to set the house up for guest viewing house-wide. The lighting system also has timed events so at dusk the landscape lighting turns on and goes off at dawn or at whatever time is programmed into the system.
The lighting control system actually controls the motorized window treatments. Motorized window treatments include blinds, Roman shades, and curtains. I can control any window treatment from any keypad or touch screen in the home. I also have timed events for controlling the window treatments. At certain times, the window treatments will close to help regulate room temperature and protect artwork and antiques from the harmful rays of the sun. I can also control the amount of light in the room by adjusting the artificial light.
The home's HVAC system is set up as a three-zone system, one unit per floor. This design just made sense given home's three-story layout. During the home's restoration, we use spray foam or icynene insulation wherever possible to help with energy efficiency.
Scott from Smith Security designed the home's security system with control over the perimeter devices on a separate patrician as the interior devices. So I can arm just the doors and windows with out arming the motion detectors. That lets me arm the alarm when I am home and still give me the ability to walk around the house without setting the alarm off. Pet-safe motion detectors were used so we can arm the interior with the animals in the house. I was very concerned with the fire-detection devices, so we went beyond code. We added heat-detection devices located at all electronic equipment locations and at the HVAC units. A fire would be terrible in any home, but in a one-hundred-year-old home with antique fixtures and finishes, it would be a disaster. We also incorporated water sensors at the HVAC units, the hot water heaters, and the fish tank leak pan. If I have a leak, the security company can notify the appropriate services to come and handle the problem. If I am out of town, they can let the service people in to take care of the problem without me being bothered at all.
The lighting design was very involved, and we worked with Jay from United Lighting. We used the original, antique lighting fixtures as well as the antiques fixtures from the San Carlos Hotel that had been added sometime in the past. We also purchased some antique fixtures and two Fortuni fixtures from Venice. Then, we added ceiling fans locations house-wide. After placing these fixtures into the plans, the rest of the lighting design was completed with recessed fixtures house-wide– accenting the antique fixtures and other pendent lights and providing highlights to walls–antiques, built-in bookcases and bars, kitchen cabinets, and artwork.
As far as the audio/video system was concerned, I took the same attitude as I did with the rest of the subsystems; I only have one shot so let's do this right, which included pre-wiring for features we might want to add in the future. This update had to last the next hundred years, so we went all out. I put speakers in every room, including the laundry area, powder room, guest bathroom and bedrooms. In some rooms, like the kitchen and billiard room, I used four speakers to get better coverage and to keep the level of the sound down so that it would not drown out conversations. The home has a total of 49 speakers, including 30 flush-mounted, 10 outdoor, and the rest are part of the surround systems.
I added two surround systems–one in the living room with a 65" television for day-to-day television and movie viewing. The second is a dedicated theater room on the third floor with a 106" screen and projector and a top-notch sound system for movies and events. I even added a 23" television in the theater powder room to play the same program as the one in the theater so during breaks you won't miss any of the action.
We have a television in the billiard room over the fireplace, hidden with a framed two-way mirror. When the television is off, it just looks like a nice mirror over the fireplace so as not to take away from the room's decor.
The kitchen's television is hidden with a tapestry that is attached to a roller shade motor. When the television is off, it just looks like a piece of artwork above the refrigerator. This space is usually unreachable, so it was perfect for a tv/artwork location.
We have all the bedrooms and the study wired for TV locations. I can have my choice of satellite or cable or both at any location. I also wired the home for high-speed Internet in all rooms and wireless throughout the home. I will be able to use a server in an equipment location shared throughout the home's local area network or LAN system.
The home's automation system is controlled by a system from the company Elan. The Elan system controls all subsystems of the home via 6.5" touch screens. The home uses 11 touch screens that are located throughout the home. By using these touch screens in strategic locations, I can relocate the normal devices, such as thermostat controls and alarm keypads, to closets as back-up controls. This also reduces wall clutter, making for a more esthetically pleasing wall. It also makes it very convenient to make adjustments to the home. From the touch screens, I can turn on music, turn off the security system, change room or house wide temperature, change lighting, and open or close shades all from one location. I even have control over the second hot water heater. When I set my house in vacation mode, it turns off both units and sets the HVAC to an appropriate level. Over time, Laura has convinced me to be more environmentally-friendly. You might say how can that be with all these gadgets? My home actually saves energy by dimming lighting and turning off lights at appropriate times. Shading windows helps to control the heat, and zoned HVAC with timed events controlling the temperature also makes my home more "green" than the average home.
The entire retro fit of all systems had to be integrated into the home with as little damage as possible to the walls or ceilings. Any damage that did occur, my wife and I had to repair and faux finish ourselves to keep the home as original looking as possible. In doing so, we have created something very unique–a historic home with a unique history and antiques with the most up to date electronic appliances and features you will find in any modern home. In the end, Laura got what she wanted, and I got what I wanted. Little did she know that all I really wanted to do was to make her happy; the rest was just the cherry on top.


text:
using System;
using System.Collections.Generic;
using System.Diagnostics.CodeAnalysis;
using System.IO;
using System.Linq;
using System.Threading.Tasks;
using Newtonsoft.Json;

namespace Meadow.Serialization
{
    /// <summary>
    /// An <see cref="IFormatStreamReader"/> that converts the JSON contents of a <see cref="Stream"/>
    /// into the specified type.
    /// </summary>

    [SuppressMessage("ReSharper", "ExceptionNotDocumented")]
    public sealed class JsonStreamReader : IFormatStreamReader
    {
        /// <inheritdoc />
        public Task<T> FromStream<T>(Stream stream)
        {
            return FromStream<T>(stream, null);
        }

        /// <inheritdoc />
        public Task<IEnumerable<T>> FromStreamMulti<T>(Stream stream)
        {
            return FromStreamMulti<T>(stream, null);
        }

        /// <inheritdoc />
        public Task<T> FromStream<T>(Stream stream, Type map)
        {
            return FromStream(stream, typeof(T), map).ContinueWith(t => (T) t.Result);
        }

        /// <inheritdoc />
        public Task<IEnumerable<T>> FromStreamMulti<T>(Stream stream, Type map)
        {
            return FromStreamMulti(stream, typeof(T), map).ContinueWith(t => t.Result.Cast<T>());
        }

        /// <inheritdoc />
        public Task<object> FromStream(Stream stream, Type @class, Type map)
        {
            return FromStreamMulti(stream, @class, map).ContinueWith(t => !t.Result.Any() ? @class.GetDefault() : t.Result.First());
        }

        /// <inheritdoc />
        public Task<IEnumerable<object>> FromStreamMulti(Stream stream, Type @class, Type map)
        {
            if (stream.CanSeek)
            {
                stream.Seek(0, SeekOrigin.Begin);
            }

            var sr = new StreamReader(stream);
            return sr.UsingAsync(async () =>
            {
                var contents = await sr.ReadToEndAsync();
                var records = new List<object>(1);

                if (map != null && typeof(JsonSerializerSettings).IsAssignableFrom(map))
                {
                    var jsonSerializerSettings = Activator.CreateInstance(map) as JsonSerializerSettings;
                    records.Add(JsonConvert.DeserializeObject(contents, @class, jsonSerializerSettings));
                    return (IEnumerable<object>)records;
                }

                records.Add(JsonConvert.DeserializeObject(contents, @class));
                return records;
            });
        }

        /// <inheritdoc />
        public Task<T> FromStream<T, TMap>(Stream stream)
        {
            return FromStream<T>(stream, typeof(TMap));
        }

        /// <inheritdoc />
        public Task<IEnumerable<T>> FromStreamMulti<T, TMap>(Stream stream)
        {
            return FromStreamMulti<T>(stream, typeof(TMap));
        }
    }
}

redpajama_set_name: RedPajamaGithub


Ingeniously designed to elongate the waist, smooth muffin top, and lift and shape the rear, these jeans will revolutionize your silhouette. Our signature Triple-S fabric is another secret to their flawless fit. 5-pockets, button and fly waist, and raw edge hem details. Black and medium sandwashed denim: cotton/Lycra® elasterell-P; white: cotton/Lycra® elasterell-P, Lycra® spandex. Misses 28" inseam. Sits just above natural waist.