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"Supergirl" - The New 'Lex Luthor'
Emmy award winning actor Jon Cryer ("Two and A Half Men"), aka 'Lenny Luthor', nephew of 'Lex' in the feature "Superman IV: The Quest for Peace" (1987), will now play the recurring villain 'Lex Luthor' starting in the 15th episode of the current season of "Supergirl", based on the DC Comics characters, premiering January 2019:
The original 'Alexander Joseph "Lex" Luthor', created by Jerry Siegel and Joe Shuster, debuted in "Action Comics" #23 (April 1940), with a full head of red hair, described as "...a power-mad, evil scientist" of high intelligence and incredible technological prowess. Luthor's goal of killing 'Superman' was to be a stepping stone to his evil domination of the universe.
In subsequent comic books, Luthor became hairless as the result of an artist's mistake. A 1960 story by Jerry Siegel expanded upon Luthor's origin and motivations, revealing him to be a childhood friend of Superman's who lost his hair when a fire destroyed his laboratory. Blaming Superman, Luthor vowed revenge.
In alternate versions of the character, Luthor became a wealthy industrialist, thanks to patents on his numerous inventions, but still possessed with a jealous and burning desire to rid the world of the 'Man Of Steel'.
Click the images to enlarge and Sneak Peek 'Luthor'...


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HomeNewsMore horror clips: '[Rec] 4: Apocalypse', 'Extraterrestrial' and 'The ABCs of Death 2' deliver horror delights
More horror clips: '[Rec] 4: Apocalypse', 'Extraterrestrial' and 'The ABCs of Death 2' deliver horror delights
October 17, 2014 Matt Wavish News 0
Even more horror clips to share here as we have three clips from [Rec] 4: Apocalypse, two clips from sci-fi horror Extraterrestrial plus a brand new clip from horror anthology The ABCs of Death 2.
The [Rec] 4 clips are frantic pieces of chase horror, while Extraterrestrial bring on some sci-fi goodness, and then The ABCs of Death 2 clip, from segment W Is For Wish is just insane!
[Rec] 4: Apocalypse (clips courtesy of Bloody Disgusting)
Directed and co-created by Jaume Balaguero, [REC]4 Apocalypse will complete the franchise, with Manuela Velasco returning in the starring role.
Angela Vidal (Manuela Velasco), the young television reporter who entered the building with the fireman, manages to make it out alive. But what the soldiers don't know is that she carries the seed of the strange infection. She is to be taken to a provisional quarantine facility, a high-security installation where she will have to stay in isolation for several days. An old oil tanker, miles off shore and surrounded by water on all sides, has been especially equipped for the quarantine.
Extraterrestrial:
The Vicious Brothers write and direct Extraterrestrial, and Freddie Stroma (Harry Potter, Pitch Perfect)stars in the film which is produced by Randy Manis, Kim Arnott, Shawn Angelski, and Martin Fisher. Brittany Allen, Melanie Papalia, Jesse Moss and Anja Savcic also star.
Extraterrestrial arrives in UK cinemas on 29th October 2014.
From The Vicious Brothers, the creators of Grave Encounters, comes a different kind of encounter, one of EXTRATERRESTRIAL origin. Still reeling from her parents' divorce, April (Daytime Emmy winner Brittany Allen) is dragged back to the vacation cabin she spent fond summers at as a child accompanied by a group of friends. Her trip down memory lane takes a dramatic and terrifying turn when a fireball descends from the sky and explodes in the nearby woods.
Lead by her boyfriend, played by Freddie Stroma (Harry Potter & The Half Blooded Prince, Pitch Perfect), the group venture out toward the crash site and discover the remnants of a ship from another planet along with footprints that suggest its alien occupants are still alive. The college friends soon find themselves caught in the middle of something bigger and more terrifying than anything they could ever imagine.
The ABCs of Death 2
THE ABCs OF DEATH 2 is produced by Ant Timpson and Tim League, in conjunction with associate producers Todd Brown, Marc Walkow, Mitch Davis, and Ted Geoghegan.
THE ABCs OF DEATH 2's directors are an eclectic, acclaimed group, consisting of Julian Barratt of The Mighty Boosh; Israel's Aharon Keshales and Navot Papushado (BIG BAD WOLVES, RABIES); Japan's arthouse provocateur Sion Sono (COLD FISH, SUICIDE CLUB); Academy Award-nominated animator Bill Plympton; ROOM 237 mastermind Rodney Ascher; Filipino icon – and Director's Fortnight inductee – Erik Matti (ON THE JOB, MAGIC TEMPLE); Lithuania's Kristina Buozyte and Bruno Samper (VANISHING WAVES); SPLICE and CUBE's Vincenzo Natali; indie horror icon Larry Fessenden (THE LAST WINTER, HABIT); THE STATION's Marvin Kren; Todd Rohal (THE CATECHISM CATACLYSM); Canada's king of lo-fi, Steven Kostanski (MANBORG); Cuba's Alejandro Brugués (JUAN OF THE DEAD); acclaimed UK commercial director Jim Hosking; Japanese monster-maker Hajime Ohata (HENGE); Canadian short film wizard Chris Nash (SKINFECTIONS); France's Julien Maury and Alexandre Bustillo (INSIDE, LIVID); E.L. Katz (director of the SXSW breakout hit CHEAP THRILLS); twin auteurs Jen and Sylvia Soska (AMERICAN MARY, DEAD HOOKER IN A TRUNK); A LONELY PLACE TO DIE's Julian Gilbey; Brazil's most controversial filmmaker Dennison Ramalho (NINJAS and LOVE FOR MOTHER ONLY); the founder of Nigerian "Nollywood" cinema Lancelot Imasuen; THE LEGEND OF BEAVER DAM and the upcoming STAGEFRIGHT's Jerome Sable; and animator Robert Morgan – creator of the BAFTA Award nominated short BOBBY YEAH.
ABC's OF DEATH 2 is the follow-up to the most ambitious anthology film ever conceived with productions spanning from Nigeria to UK to Brazil and everywhere in between. It features segments directed by over two dozen of the world's leading talents in contemporary genre film. The film is comprised of twenty-six individual chapters, each helmed by a different director assigned a letter of the alphabet. The directors were then given free rein in choosing a word to create a story involving death. Provocative, shocking, funny and at times confrontational, ABC's OF DEATH 2 is another global celebration of next generation genre filmmaking.
(Rec) 4: Apocalypse
Jaume Balaguero
The Vicious Brothers
About Matt Wavish	10001 Articles
A keen enthusiast and collector of all horror and extreme films. I can be picky as i like quality in my horror. This doesn't necessarily mean it has to be a classic, but as long as it has something to impress me then i'm a fan. I watch films by the rule that if it doesn't bring out some kind of emotive response then it aint worth watching.
TIFF: New images from '[Rec] 4: Apocalypse', 'Spring', 'It Follows', 'Cub', 'Tokyo Tribe' and 'Tusk'
July 30, 2014 Matt Wavish News 0
The Toronto International Film Festival kicks off on September 4th and concludes on September 14th, and part of the huge festival is the Midnight Madness section, which hosts all things horror, nasty and slightly depraved. […]
'[Rec] 4: Apocalypse' star Manuela Velasco explores the set in new behind the scenes video
August 8, 2013 Matt Wavish News 0
The sexy star of [Rec] 1, 2 and the upcoming fourth film, Manuela Velasco, has been snooping around the set of director Jaume Balaguero's final film in the franchise, and the video has just […]
The (Rec) 3: Genesis teaser trailer is here!!!! Hurrah!!! (UPDATE: English subtitled trailer added)
September 20, 2011 Matt Wavish News 0
Oh man, YES!!!! Finally, after what seems like a lifetime of waiting, the teaser trailer has arrived for Paco Plaza's (Rec) 3: Genesis!! Not sure if you can tell, but I am very very excited! […]

redpajama_set_name: RedPajamaCommonCrawl


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Home South Tamil Nadu
Art therapy-the new paediatrician on the block
Janani Sampath
Chennai, 6:14 PM, 29 May, 2019 Updated 7:25 PM, 29 May, 2019
Art therapy can have a profound effect on the lives of children suffering from long-term ailments . Photo: Pixabay
A joyful heart is good medicine. Looking at adopting the adage along with their regular medication, the Institute of Child Health or the Egmore Children's Hospital run by Tamil Nadu government for paediatric care is all set to open a studio for creative therapy on its campus.
Touted to be the first of its kind initiative in the country, the centre-spread over 1000 square feet-will have 42 art therapists who are specialised in various forms of art— including music, dance and art—to work with children seeking treatment at the facility. The facility is being launched in association with The Little Theatre, a theatre company for children based in Chennai
Talking to The Federal, AT Arasar Seeralar, director of the 837-bed facility explains that especially for children suffering from chronic illnesses like cancer, there is a lot of boredom and depression. "They are losing school and the time spent in hospital with medicines and treatment can be long and frustrating. The studio will give them the much needed respite as they get to have a brush with creativity," he said.
Seeralar adds that a clown therapy programme that has been conducted in the hospital by the group has brought the children out of their cocoon. He says, "The joy and cheer is actually the best supplement to the treatment they undergo in the hospital."
Aysha Rau, founder and managing trustee of "The Little Theatre," points out that playfulness and play can help even children without ailments relax and one can imagine the impact it can have on children with illnesses.
She says, "We are also looking at bringing performances regularly and there are art spaces provided on glass for the children to come up with their own works of art. These can be changed every two weeks and the art therapists can interpret what is running in their minds by observing what they draw or paint. It will not only enliven the space but also bring cheer to the lives of their children and parents who take care of them. There is a lot of science behind how art can be healing and we believe it should be well rounded and holistic."
The studio called Centre for Creative Therapy which has been sponsored by business houses, will be inaugurated on May 31.
Arasar Seeralar
Aysha Rau
Centre for Creative Therapy
clown therapy programme
Egmore Children's Hospital
Institute of Child Health
The Little Theatre


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Art, Abridged, Pictures
Yun Teng
A Crash Course in "Something New Must Turn Up" – Chng Seok Tin
What does being ahead of your time mean? National Gallery Singapore's recent exhibition, Something New Must Turn Up: Six Singaporeans After 1965, seeks to answer this question by spotlighting six artists working in post-independence Singapore who were luminaries of their zeitgeist. This expansive exhibition (which actually functions more like six solos) highlights how the diverse practices of artists Chng Seok Tin, Goh Beng Kwan, Jaafar Latiff, Lin Hsin Hsin, Mohammad Din Mohammad and Eng Tow were influential precedents in the Singapore arts scene.
Never heard of the artists before, or feeling bewildered and unfamiliar with this history? Don't fret – in this series, we bring you through a quick crash course on each of the innovative artists in the exhibition, and take a closer look at one of their ground-breaking works.
Chng Seok Tin: Drawn Through A Press
Who is Chng Seok Tin?
Although she specialised in printmaking, Chng Seok Tin (1946–2019) was a highly regarded artist who worked across many different mediums. Born in 1946, she trained in Singapore, United Kingdom, France and United States, subsequently heading the printmaking department at the Lasalle-SIA College of the Arts in 1986. In 2005, Chng received the Cultural Medallion for her contributions to visual arts in Singapore. She was known for her innovative and skilful approaches to printmaking as well as her fervent love for writing, in her practice that spanned over four decades.
Significantly, after a serious accident in August 1988, Chng underwent surgery to remove a brain abscess. In the process, she lost 90% of her eyesight. I don't know about you, but if I became almost completely blind, I wouldn't know how to continue making art – let alone continue printmaking, a medium that relies so heavily on detail, colour and technique. It's hence remarkable how, after a year of isolation and frustration, Chng emerged with a newfound energy, demonstrating that even without full vision, she wielded strong technical skill and an instinctive feel for colour. Her later works also incorporated other unconventional materials and took on sculptural and installation forms, as she devised new ways of art-making with her visual impairment.
What is her work about?
Drawn to the beauty of the natural world, Chng's earlier works were gestural impressions of landscapes of Hull, United Kingdom, where she was a student from 1976 to 1979, as well as the terrains of New Mexico and Iowa in the United States, where she studied from 1981 to 1985. In particular, water captured her interest, and she made numerous beautiful etchings of flowing water to attempt to capture its essential nature.
Flowing Series, 1983, etching and aquatint on paper.
Another key subject in Chng's works was the human figure. She used the human figure both as an aesthetic form as well as a means of expression across different artistic mediums. Multiple human figures feature in some of her works where she depicted the intensity of high-rise living, urbanised buildings, alongside the motif of climbing. For Chng, climbing was a metaphor for a society consumed by greed and materialism, caught in a frenzy of upward movement. It also reflects her own journey as an artist, struggling to adapt and work with her visual impairment.
Her later works explored the human condition, incorporating Chinese philosophical concepts as well as Chinese literature into her sculpture and installation works. She also felt strongly about human, social and environmental issues, and contemplated the fragility of existence. In her words:
"What is important to me is not how to create pictures, but how to live."
How did she make her work?
Much like the other artists in this show, Chng's practice resists being confined within a specific medium. Whilst she was trained technically in printmaking, Chng explored a range of mediums, materials and techniques throughout her practice. Her earlier works comprised of detailed sketches in ink, pencil, marker, as well as various print techniques ranging from sugarlift etching to monoprint.
Some of Chng's tools in the exhibition.
After her visual impairment, Chng shifted from fine etching to methods that focused more on touch rather than sight, such as drypoint, woodblock printing, relief collage, as well as sculpture. Her installations took on a variety of forms and included materials such as papier-mâché spheres, printed fabric, electric fans, giant chess boards and even dried lily buds.
Installation view of Chng Seok Tin: Drawn Through A Press. On the right is Rolling Red Dust (2006-8, remade in 2021), an immersive installation consisting of 100 red banners and electric fans, symbolising the vicissitudes of life. In the foreground are painted papier-mâché spheres which make up the Close to my heart series (2011), "cultural spheres" covered in Chinese calligraphy of literary quotations and phrases.
Which work stood out to me?
In many of Chng's works, she uses the human form to allude to larger existential questions of humanity. For example, in Rolling Red Dust (2006-8), silhouettes of human figures in motion dance and float on the red banners, each embodying a particular state of being. The 100 red banners and the human figures refer to the Chinese phrase 人生百态, which roughly translates to the hundred states of mankind.
These figures also recur in Chng's other works, where they are rendered in papier-mâché figures and sculptural forms. However, I was particularly interested in one form that these figures took – through an unexpected object.
Dance of Kim-Chiam II (2000), monotype on paper. Image courtesy of National Gallery Singapore.
Can you recognise what these are? You might not know what they're called, but you could have eaten them in noodles or soups. These are kim chiam ("golden needles" in Hokkien) or dried lily buds, which are used in traditional Chinese cooking. Chng was first inspired by the visual forms of this dried vegetable after coming across them whilst in her friend's kitchen in London. Typically, kim chiam were knotted before cooking, and to Chng, the knotting transformed them into animated, anthropomorphic figures. Kim chiam became favourite subjects of her etchings, monoprints and assemblages.
When knotted, kim chiam ("golden needles" in Hokkien) or dried lily buds take on a form that uncannily resembles human figures. Can you see the resemblance? Image credit: Peranakan Kitchen.
Chng Seok Tin, Kim Chiam Code (2008).
Chng's unconventional use of kim chiam in her works reveals her playful and improvisational approach to everyday materials, through sustained experimentation of various ways to depict and present the figures. Humour, for Chng, was also a way to question the incessant pace of modern life, and evoke how, like the kim chiam, we dance and move through a big city, one in a crowd of many.
Curious to see more of Chng Seok Tin's works? Something New Must Turn Up: Six Singaporeans After 1965 runs at National Gallery Singapore until 22 August 2021.
Feature image: Detail of Dance of Kim-Chiam II (2000), monotype on paper. Image courtesy of National Gallery Singapore.
Lists	·
Usha·
The Art of Gift-Giving
Art, Abridged	·
Pictures	·
The Art of Resistance
Skl0 and Behold
Tamaryn·
On Seeing Alfonso Ossorio's Eyeballs


Q and J embrace their inner children this week while discussing the Best Children's Book Movie Adaptations. It's not as weird as it sounds, we just mean that this week we languish in conversation about cigar-smoking dogs, cartoon hookers, and Peter Rabbit nutting all over General Hux, you know, the normal stuff you talk about when the topic of children's book movie adaptations comes up….
[Set to the tune of "It's So Hard To Say Goodbye To Yesterday" by Boyz II Men] How do we say goodbye to what we had? The good films that you gave, outweigh the bad. We thought we'd get another Capote, but your upcoming filmography's gone away. It's so hard to say goodbye to yesterday. We don't know what this episode is going to be….


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Election in Yemen a Test of Democracy
On Sept. 20, the citizens of Yemen voted in presidential and local elections, only the second of such elections since the country's unification in 1990.
Profiting from Africa's Natural Resources
Why isn't revenue from oil, gas and mining spurring economic growth and social development in resource-rich African countries?
Many African countries have received billons of dollars in revenues from oil and other natural resources over the last 25 years. Yet, the per capita income of most of these countries remains at less than $3 a day.
In many cases, the lack of accountability and transparency in the management of revenue exacerbates poor governance and often fuels cycles of corruption, conflict and poverty.
Women Uniting in Afghanistan Parliament
Despite their electoral success, the 68 women who sit in Afghanistan's lower house of the National Assembly, or Wolesi Jirga, face restrictive social pressures and occasional violent intimidation along their path to equality.
Women in African Public Life
Two days before January's swearing-in of Liberian President Ellen Johnson Sirleaf – Africa's first female head of state – more than 250 women met in Monrovia to discuss the role of women in African politics, business and economics.
Text Messaging Delivers for Montenegro Election Monitors
In May, Montenegrins voted in a nationwide referendum to end their union with Serbia. For the first time, SMS text messaging technology was used to help safeguard the vote by enabling observers to report results almost instantly from polling stations throughout the country.
Satellite Technology Puts Democracy on the Map
When Palestinians went to the polls in January, nearly every one of the 1,008 polling stations in the West Bank and Gaza had been mapped using Global Positioning System satellite technology. Thanks to a pilot Geographic Information Systems (GIS) project conducted over the past year, NDI created a "smart map" of the West Bank and Gaza that allows users to search, edit and analyze observation information and election results at polling stations throughout the Palestinian territories.
"Free and Fair" Elections?
For the first time, a common set of principles for professional, impartial and effective election observation has been adopted by more than 20 organizations involved in monitoring elections around the world.
The Declaration of Principles for International Election Observation and the Code of Conduct for International Election Observers are aimed at better insuring the integrity of international election observation.
Election Monitoring Principles Adopted
For the first time, a common set of principles for professional, impartial and effective election observation has been adopted by more than 40 organizations involved in monitoring international elections.
The Declaration of Principles for International Election Observation and the Code of Conduct for International Election Observers are aimed at better ensuring the integrity of international election observation.


SANTA CLARA, Calif.–(BUSINESS WIRE)–Oct. 19, 2012– MoSys, Inc., (NASDAQ:MOSY), a leader in semiconductor solutions that enable fast, intelligent data access for network and communications systems, today reported financial results for the third quarter ended September 30, 2012.
Ended the quarter with total cash and investments of $45 million.
"MoSys enjoyed a high level of sales activity during the quarter, as we continued to engage with customers and partners in a concentrated effort to accelerate the design win process and further expand our pipeline of design wins in-progress," commented Len Perham, MoSys' President and Chief Executive Officer. "Additionally, we are actively working with our lead OEM customers as they finalize their system-level specifications and advance toward first prototype system builds. We anticipate these customers will achieve full system qualification and initial production releases in the second half of 2013.
"During the quarter, we completed our extensive logic verification process and have now progressed deeply into the timing verification of our second generation Bandwidth Engine IC family. We expect to tape out this month and be ready to sample by mid-to-late February 2013. The second generation Bandwidth Engine architecture will support multiple new technology enhancements aimed at optimizing performance in next generation networking systems targeted to run at speeds up to 400 Gigabits per second. In fact, we recently announced the first two products in the second generation family, which are optimized for buffering and high speed access applications. The new family of devices is expected to achieve up to 50% faster I/O speeds, substantially increased access rates and include advanced offload features to reduce memory transactions and latency. We believe the improved performance and capabilities of these second generation devices will allow us to serve a wider range of applications, and, therefore, compete for more sockets in next-generation systems," concluded Mr. Perham.
Total net revenue for the third quarter of 2012 was $1.3 million compared with $1.7 million reported in the second quarter of 2012 and $2.1 million in the third quarter of 2011.
Third quarter 2012 total revenue included licensing and other revenue of $0.2 million compared with $0.6 million for the previous quarter and $0.8 million for the third quarter of 2011. Third quarter 2012 royalty revenue was $1.1 million compared with $1.1 million in the previous quarter and $1.4 million for the third quarter of 2011.
Gross margin for the third quarter of 2012 was 96% compared with 90% in the second quarter of 2012 and 83% for the third quarter of 2011.
Total operating expenses on a GAAP basis for the third quarter of 2012 were $7.3 million compared with $8.1 million in the previous quarter and $8.6 million for the third quarter of 2011. Third quarter 2012 operating expenses included $0.3 million of amortization of intangible assets and $0.9 million of stock-based compensation expense.
GAAP net loss for the third quarter of 2012 was $6.1 million, or ($0.15) per share, compared with a net loss of $6.6 million, or ($0.17) per share, in the previous quarter and a net loss of $6.9 million, or ($0.18) per share, for the third quarter of 2011. The non-GAAP net loss for the third quarter of 2012 was $4.9 million, or ($0.12) per share, which excludes amortization of intangible assets and stock-based compensation expense. Earnings per share for the third quarter of 2012 were computed using approximately 39.3 million shares on a GAAP and non-GAAP basis. A reconciliation of GAAP results to non-GAAP results is provided in the financial statement tables following the text of this press release.
As of September 30, 2012, cash and investments totaled $45.3 million.
MoSys will host a conference call and webcast with investors today at 5:30 a.m. Pacific Time (8:30 a.m. Eastern Time) to discuss the third quarter 2012 financial results. Investors and other interested parties may access the call by dialing 1-866-362-4829 in the U.S. (1-617-597-5346 outside of the U.S.), and entering the pass code 92580163 at least 10 minutes prior to the start of the call. In addition, an audio webcast will be available through the MoSys Web site at http://www.mosys.com. A telephone replay will be available for two business days following the call at 1-888-286-8010 in the U.S. (1-617-801-6888 outside of the U.S.), pass code of 13464425.
Investors are encouraged to review the reconciliation of these non-GAAP financial measures to the comparable GAAP results, which is provided in a table below the Condensed Consolidated Statements of Operations. The non-GAAP financial measures disclosed by the Company should not be considered a substitute for, or superior to, financial measures calculated in accordance with GAAP, and the financial results calculated in accordance with GAAP and reconciliations to those financial statements should be carefully evaluated. The non-GAAP financial measures used by the Company may be calculated differently from, and therefore may not be comparable to, similarly titled measures used by other companies. For additional information regarding these non-GAAP financial measures, and management's explanation of why it considers such measures to be useful, refer to the Form 8-K dated October 19, 2012, that the Company filed with the Securities and Exchange Commission.


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Q: What are these diagrams called? And, what are some good *free* books/notes where I can learn about them? I ran into the following diagrams while randomly browsing internet

I'd like to learn about them.

A: The diagrams you posted are ways of representing formal deductions/proof in formal systems (also called proof systems or logical calculi).
As an example you can take a look to wikipedia's page on sequent calculus.
You can find more about this on any book on mathematical logic.
Hope this helps.

A: The diagrams are examples of an argument that has been formalized using Boolean logic. The different symbols represent different quantifiers such as (and, or, if,).
You can learn more for free at wikipedia:
https://en.wikipedia.org/wiki/Boolean_algebra
A cheap but good book on the subject is: Boolean Reasoning by Brown.
http://www.amazon.com/Boolean-Reasoning-Logic-Equations-Mathematics/dp/0486427854/ref=sr_1_1?ie=UTF8&qid=1451854924&sr=8-1&keywords=boolean+logic

A: The examples in your question are some of the rules of inference in a natural deduction system.  (This is very similar to a sequent calculus but not quite the same.)

redpajama_set_name: RedPajamaStackExchange


To attract and maintain new users, digital finance (DF) providers have strived to lower the barrier to entry at every point of interaction. This is particularly true of the technological interfaces (applications) that customers use to conduct financial transactions. DF providers largely believe that easy to use applications can persuade customers to transact more frequently, build trust through transparency, and drive the customer to engage in positive financial habits, such as saving.
Beyond user experience (UX) at the interface level, digital finance providers are also using emerging digital attributes1 to break down barriers to entry and enhance customer engagement. Such attributes— ranging from real-time customer interaction to gamification—are defining the next generation of digital financial services (DFS).
In this Snapshot we discuss several themes which illustrate how advances in UX are helping to meet financial needs, improve customer experience, and drive uptake and usage of digital financial services. While much of this innovation is taking place across advanced technology channels (such as smartphone apps and web-based services), in many markets USSD remains a popular channel of engagement. We therefore continue to see UX improvements at the USSD level despite the availability of more sophisticated technology solutions.
USSD—an old friend or foe?
The spread of digital finance, primarily in the form of mobile money, was largely facilitated by unstructured supplementary service data (USSD), a communication protocol that enabled MNOs to deploy mobile financial services at low cost to nearly all mobile phones. Nowadays, DF providers deliver their products across a variety of channels from USSD and SIM toolkits (STK), to Interactive Voice Response (IVR), mobile apps, and the Internet.
USSD, still the primary channel for digital financial services2, relies on a text-based hierarchical menu interface that has limitations and poses several usability difficulties. From poor navigation and discoverability (such as complex hierarchical menus behind which digital finance applications are hidden), to confusing user interface (UI) components3, these limitations have increased transaction costs, negatively affected customers' trust in the system4, and, worst of all, excluded low literacy customers.
Similarly, Wyche and Othieno argue that mobile interfaces need to be better aligned with "rural user' [sic] capabilities and usage practices."12 Many of these underserved sectors of society are not only technologically less capable but lack the literacy and numeracy skills—and experience with formal financial services—required to comfortably access and use DFS. Exacerbated by complex interfaces and complicated processes, the lack of necessary skills and experience often deters this population from using the service, or forces them to rely on family or friends to carry out transactions on their behalf.13 Shared and intermediated use of digital finance is discussed further in Snapshot 7.
The rapid development of mobile technology from dumb phones to smartphones has necessitated a re-think of past design recommendations. For example, while some recommendations remain relevant—avoiding the use of hierarchical menu structures for mobile phones16 for example—others, such as avoiding the use of soft keys17, are no longer as appropriate. This is due to the wide availability of touch screens where "soft keys" are now the norm. The design recommendations in this case need to focus more on avoiding the mixture of input modalities. This particular recommendation will probably need more fine-tuning given the growth of voice-driven systems. Generally, continual UX research will be required to keep design recommendations and principles abreast of the technological improvement of mobile phones, the primary tools for client-centric digital finance.
The growing use of smartphones and the increasing appreciation of design thinking as an approach to product development has spurred a new strand of research activities led largely by design consultancies such as IDEO and Grid. These agencies have partnered with banks and mobile money operators to design digital financial products that simplify use for the client while simultaneously encouraging the client to use more products (e.g., graduating from savings products to investment products). Chen et al. captured the most comprehensive and recent set of principles derived from such activities in their "Smartphones & Mobile Money: Principles for UI/UX Design (1.0)."18 These principles build on earlier ones from the first wave of research and recommend utilizing the graphical and computing power of the devices to enhance the user's experience and minimize user-generated errors.19 There are strong notes of caution emphasizing the need for still simpler interfaces and education to onboard new users. An important emergent practice of note is the open sharing of design knowledge and experience relevant to DFS. This sharing of best practices and failures helps to improve the overall standard and usability of digital financial services applications.
UX in digital finance has expanded beyond its traditional domain of the design of hardware and software interfaces to consider the whole context of engagement between the customer and the digital finance provider. Informed by disciplines such as "behavioral science" and "game/play," providers have designed new products and services and customer engagement mechanisms to break down barriers to entry, increase customer loyalty, and "nudge" customers into desirable habits.20 UX beyond interface takes many shapes and forms; below we discuss interactive SMS, chatbots, gamification, and the use of UX to mimic analog behaviors. It is important to note that many of these are available on both feature and smartphones.
The digital revolution has removed human interaction from many elements of our day-to-day lives. These interactions hold tremendous value for poor communities wherein social relationships are embedded in the fabric of everyday life. Digital channels provide promising opportunities to fill these gaps and rebuild relationships between customers and providers.21 Technology-to-person innovations are helping to build trust in the service, deliver relevant information, and help individuals manage their financial commitments.
Juntos Finanzas, an automated conversational platform, has run a number of interactive SMS projects with their clients. From driving merchant payments in Tanzania22 to interacting with agent banking clients in Colombia to motivating increased savings behavior23, Juntos has helped customers feel more confident about their financial lives and build stronger relationships with their providers.
A similar interactive SMS platform developed by Arifu has also helped drive positive financial behaviors among customers. The platform was used in a project targeting farmers in rural Tanzania in which financial literacy training was delivered, via SMS, to drive digital savings and borrowing behavior.24 The impact of the six-month pilot was impressive. Farmers who accessed Arifu's learning platform took out larger loan amounts and saved at higher rates than those farmers who did not use the platform.
The dynamics of social interactions and customer relationships are changing. As more daily practices (such as conducting a financial transaction) shift to digital, so do many of our daily interactions. Chatbots present an amazing opportunity to engage with customers across digital devices. As with interactive SMS, chatbots can be used as a platform to answer customer queries, serve as an interactive learning platform, and help customers navigate complex formal finance systems. Gartner predicts that by 2020, 85% of customer interactions will be managed without a human.29 While innovation in the chatbots space seems slow within the context of the developing world, this prediction points to significant development in this space in the coming years. Notable African chatbots relating to financial services currently include Kudi.ai (Nigeria), ABSA ChatBanking (South Africa), Susu.ai (Nigeria), and Tuma Bot (Uganda).
Parikh et al.34 and Ratan et al.35 explored and designed systems aimed at maintaining the flexibility of paper while leveraging technology to capture and digitize the information on the paper as it is written. From this they generated important design recommendations on voice feedback for group settings and automated calculations. This also links in with the discussion in Snapshot 2 on blending the digital with the non-digital.
Over the course of the last decade, academia and research arms of private institutions have led research in the challenges posed and opportunities afforded by the user experience of DFS applications. While the learning and design recommendations emanating from these works have contributed substantially to our understanding of the creation of usable and inclusive digital financial services, the relative adoption and application of these recommendations and principles in practice was low.
"I came to MM4P as a skeptic of human centered design (HCD)—this buzzword/acronym was all the rage as I left Washington DC from my former job. When I went to the workshops describing HCD work in financial inclusion, I came away feeling like the work done didn't really amount to much, and didn't really have a lasting impact on the people that we want to be more financially included.
An important catalyst of the increasing adoption of HCD UX practices is the open sharing of design research findings, tools, and methodologies in digestible formats. The findings of the initial wave of UX focused DFS research was captured primarily in academic papers, and dissemination channels were limited to a few journal publications and conferences. This limited the exposure of DFS implementers to this knowledge, and, in cases where they had access, they found it difficult to translate and apply the findings to their work context.
The introduction of free design toolkits like IDEO's Design Kit (http://www.designkit.org/) has democratized access to design knowledge and practice. Coupled with the documentation and sharing of the implementers' own experiences on blogs and other media, other implementers are quickly improving their ability to apply UX in designing usable and inclusive digital financial services. Recently, a collaboration between CGAP and its partners at Wave Money (Microsoft Research, GRID Impact, Karandaaz Pakistan, Small Surfaces, IDEO.org) yielded one of the most comprehensive guides to the UX principles for DFS—"Smartphones & Mobile Money: Principles for UI/UX Design (1.0)."38 The open sharing and digestible presentation of these principles enables implementers to create a digital finance smartphone application and avoid the common pitfalls that hamper the user's experience.
Another important area of UX research, which previously received little attention, is the trade-off between a user's experience and the security of their data and identity. The more secure authentications and schemes tend to be less user friendly and can be a barrier to user adoption. The easier to use schemes are more susceptible to malicious attacks.
There is a critical tension between sharing information across digital finance platforms and privacy. Low-income users often lack the financial or technical know-how to understand how their data is shared and what consumer risks are associated with this data sharing.40 Responsible design recognizes that designers are responsible for the choices they make in the design process. The ethical or responsible design process should focus on building products and services people trust to appropriately protect their privacy.
The research consultancy 'IF' highlights a number of responsible design themes that have emerged through their work on "helping teams build services people trust."41 These include "how a service uses data should be clear to users," "blanket transparency is less useful than transparency in context," and "being able to verify what a service does is very useful." As UX across DFS platforms becomes more sophisticated, and digital channels more complex, building trust should become a design problem, rather than the abstract quality of a brand. Ind.ie has created an ethical design manifesto that highlights design requirements in terms of human rights, human effort, and human experience.42 A similar approach from the digital finance community will help build not only trust in these services but also confidence and sustained use.
The next wave of DFS innovation is likely to come from over-the-top (OTT) organizations, such as Facebook, Google, Alipay, and Tenent. These providers are delivering, or plan to deliver, financial services using the internet data supplied by MNOs. As smartphones and internet access become more readily available, so does the prospect of offering OTT services.43 Rapid innovation in mobile phone technology presents more and more ways for users to interact with digital finance applications. However, we need a more nuanced understanding of how these new modes of interaction can be successfully applied. Specifically, we need to review and update existing design recommendations in light of prevailing technology and interaction patterns to ensure that UX continues to contribute positively to the goal of meaningful financial inclusion. However, while we should remain forward looking, we must always keep the end user in mind and seek to understand their persistent use of USSD as a mode of engagement even when more sophisticated offerings are available.
Advances in user experience, from simplified interfaces to the introduction of new digital tools to drive increased engagement, are improving customer experience, better meeting user needs, and ultimately driving more meaningful use of DFS. In a bid to answer some of these UX issues, the digital finance community has looked to more sophisticated digital modes of engagement (such as smartphones, apps, and the Internet), and the various digital attributes available over them. However, in many markets USSD remains a popular technology channel. This is often due to issues of affordability, familiarity, and the dynamics of inclusion and exclusion at play when complex technology interacts with low literacy, tech-fearing individuals. As we shift to more digital modes of engagement, it is important that the conversation around UX keeps abreast of these technological developments while bearing in mind the persistent staying power of less high tech channels. The use of digital attributes and a focus on human-centered product design will help us understand the client better and ensure that advances in UX are aligned with our ultimate goal of meaningful financial inclusion.
Medhi, Indrani, S. N. Gautama, and Kentaro Toyama. A Comparison of Mobile Money-Transfer UIs for Non-Literate and Semi-Literate Users. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 1741–1750. ACM, 2009.
Panjwani, Saurabh, Mohona Ghosh, Ponnurangam Kumaraguru, and Soumya Vardhan Singh. The Paper Slip Should Be There!: Perceptions of Transaction Receipts in Branchless Banking. In Proceedings of the 15th International Conference on Human-Computer Interaction with Mobile Devices and Services, 328–331. MobileHCI '13. New York, NY, USA: ACM, 2013. doi:10.1145/2493190.2493236.
Parikh, Tapan S., Paul Javid, Sasikumar K., Kaushik Ghosh, and Kentaro Toyama. Mobile Phones and Paper Documents: Evaluating a New Approach for Capturing Microfinance Data in Rural India. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 551–560. CHI '06. New York, NY, USA: ACM, 2006. doi:10.1145/1124772.1124857.
Loudon, Melissa. A Platform Studies Approach to the Role of Technology in the ICTD Ecosystem: The SMS in m4d Interventions. Information Technology for Development 22, no. sup1 (August 30, 2016): 7–25. doi:10.1080/02681102.2015.1121858.
CGAP. Insights into Action: What Human Centered Design Means for Financial Inclusion, October 2014.
CGAP. Smartphones & Mobile Money: Principles for UI/UX Design (1.0). Economy & Finance, October 2016.
Gerhard, Coetzee. How Absa Bank Empowered Its Customers through Games. Blog. CGAP, December 1, 2015.
Koning, Antonique. Customer Empowerment through Gamification Case Study: Absa's Shesha Games. CGAP, n.d.
Valenzuela, Myra, Nina Holle, and Wameek Noor. Juntos Finanzas—A Case Study. CGAP, October 2015.
———. "Smartphones & Mobile Money: Principles for UI/UX Design (1.0)." Economy & Finance, October 2016. http://www.slideshare.net/CGAP/smartphones-mobile-money-principles-for-uiux-design-10.
Chipchase, Jan, Panthea Lee, and others. "Mobile Money: Afghanistan." Innovations 6, no. 2 (2011): 13–33.
Duflos, Eric, and Eric Tyler. "Voice of the Customers: A Two-Way Dialogue in Digital Finance." CGAP (blog), September 2015. https://www.cgap.org/blog/voice-customers-two-way-dialogue-digital-finance.
Faz, Xavier. "5 Sources of Untapped Innovation in Digital Finance." CGAP (blog), n.d. http://www.cgap.org/blog/5-sources-untapped-innovation-digital-finance.
Gerhard, Coetzee. "How Absa Bank Empowered Its Customers through Games." Blog. CGAP, December 1, 2015. http://www.cgap.org/blog/how-absa-bank-empowered-its-customers-through-games.
GSMA. "Choosing a Technical Model for A2A Interoperability: Lessons from Tanzania and Pakistan." GSMA, January 2016. http://www.gsma.com/mobilefordevelopment/wp-content/uploads/2016/01/2015_GSMA_Choosing-a-technical-model-for-A2A-interoperability_Lessons-from-Tanzania-and-Pakistan.pdf.
———. "Messaging as a Platform The Operator Opportunity," February 2017. https://www.gsma.com/futurenetworks/wp-content/uploads/2017/02/Network-2020-Maap_Leaflet_Interactive_new.pdf.
Harihareswara, Nandini. "From Skeptic to a Believer: HCD & Silicon Valley Tools to Improve DFS," March 2017. http://mm4p.uncdf.org/skeptic-believer-hcd-silicon-valley-tools-improve-dfs.
Ind.ie. "Ethical Design," n.d. https://ind.ie/ethical-design/.
Johnson, Susan. "Financial Exclusion in Kenya: An Analysis of Financial Service Use." FSD Kenya, June 15, 2008. http://fsdkenya.org/publication/financial-exclusion-in-kenya-an-analysis-of-financial-service-use/.
Loudon, Melissa. "A Platform Studies Approach to the Role of Technology in the ICTD Ecosystem: The SMS in m4d Interventions." Information Technology for Development 22, no. sup1 (August 30, 2016): 7–25. https://doi.org/10.1080/02681102.2015.1121858.
Mattern, Max, and Michael Tarazi. "Designing Digital Financial Services for Smallholder Families." CGAP, November 10, 2015. http://www.cgap.org/publications/designing-digital-financial-services-smallholder-families.
Mazer, Rafe. "Interactive SMS Drives Digital Savings and Borrowing in Tanzania." CGAP (blog), August 10, 2016. http://www.cgap.org/blog/interactive-sms-drives-digital-savings-and-borrowing-tanzania.
Medhi, Indrani, S. N. Gautama, and Kentaro Toyama. "A Comparison of Mobile Money-Transfer UIs for Non-Literate and Semi-Literate Users." In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 1741–1750. ACM, 2009. https://www.microsoft.com/en-us/research/wp-content/uploads/2016/02/medhi_chi2009.pdf.
Mondato. "Mobile Money: OTT and Fintech at the Gates," March 2017. http://blog.mondato.com/mobile-money-ott-and-fintech-at-the-gates/.
Panjwani, Saurabh, Mohona Ghosh, Ponnurangam Kumaraguru, and Soumya Vardhan Singh. "The Paper Slip Should Be There!: Perceptions of Transaction Receipts in Branchless Banking." In Proceedings of the 15th International Conference on Human-Computer Interaction with Mobile Devices and Services, 328–331. MobileHCI '13. New York, NY, USA: ACM, 2013. https://doi.org/10.1145/2493190.2493236.
Parikh, Tapan S., Paul Javid, Sasikumar K., Kaushik Ghosh, and Kentaro Toyama. "Mobile Phones and Paper Documents: Evaluating a New Approach for Capturing Microfinance Data in Rural India." In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 551–560. CHI '06. New York, NY, USA: ACM, 2006. https://doi.org/10.1145/1124772.1124857.
Ratan, Aishwarya Lakshmi, Kentaro Toyama, Sunandan Chakraborty, Keng Siang Ooi, Mike Koenig, Pushkar V. Chitnis, and Matthew Phiong. "Managing Microfinance with Paper, Pen and Digital Slate." In Proceedings of the 4th ACM/IEEE International Conference on Information and Communication Technologies and Development, 37:1–37:11. ICTD '10. New York, NY, USA: ACM, 2010. https://doi.org/10.1145/2369220.2369255.
Saini, Mohit. "Designing User-Friendly USSD Interface for Digital Financial Services." MicroSave (blog), April 2017. http://blog.microsave.net/designing-user-friendly-ussd-interface-for-digital-financial-services/?platform=hootsuite.
Sheret, Matthew. "Designing for Trust." IF (blog), July 2016. https://projectsbyif.com/blog/designing-for-trust.
David Hutchful wrote this Snapshot, with further input from Annabel Schiff and Jonathan Donner. This Snapshot was supported by the Mastercard Foundation.
Partnership for Finance in a Digital Africa, "Snapshot 5: How can advances in UX and other emerging digital attributes help meet user needs and enhance user engagement and satisfaction?" Farnham, Surrey, United Kingdom: Caribou Digital Publishing, 2017. https://www.financedigitalafrica.org/snapshots/5/2017/.


At the Friday 18 November dinner for Cure Kids 'Celebrating 45 years of breakthroughs in child health research', Cure Kids member representing Rotary, Past District Governor Beryl Robinson accepted on behalf of Rotary in New Zealand and the Pacific a Cure Kids Founder Award as recognition by Cure Kids for Rotary's role as founder in 1971 (to celebrate 50 years of Rotary in NZ) and as an on-going partner of Cure Kids.
Beryl received this special plaque for Rotary, and replied that Rotary continues to have a close relationship with Cure Kids, as Rotarians are on the board, researchers and staff, plus of course all of the fundraising and event participation support that comes year after year from Rotary clubs and individual Rotarians. Rotary is extremely proud of Cure Kids' achievements, so we will continue supporting Cure Kids.
Throughout the year many Rotary clubs work with Cure Kids to raise the funds they need for their valuable research. Examples are the recent Red Nose Day campaign but there are Rotary teams participating in Cure Kids events such as the $10 Queenstown Challenge.


Emma Stone and Olivia Wilde have recently been named new Revlon ambassadors. Now we can take a sneak peek at their 2012 ad campaigns. Both actresses look beautiful representing lip and eyeshadow ranges.
The new Revlon ambassadors Emma Stone and Olivia Wilde have already posed for the 2012 ad campaign and they both look good. While Emma Stone advertises ColorBust Lip Butter, a colorful "buttery balm" Olivia Wilde poses for ColorStay Eyeshadow ads. The PhotoReady 3D Volume Mascara, ColorStay Longwear Nail Enamel, PhotoReady Airbrush Mousse and ColorStay Creme Gel.
The new Revlon cosmetic line is all about colorful makeup for creating both romantic and seductive looks as the ads show us. The range of colors is wide and diverse. The lip color features pink hues, peach and orange as well as brown while eyeshadow range includes blues, purples, greens, and pastels.
We are absolutely thrilled to welcome Emma and Olivia into the Revlon family. These remarkably talented actresses personify the Revlon woman–glamorous, confident, and bold. Together, they will help us build meaningful connections with new consumers and strengthen our relationship with existing fans of our brand. Each has a unique style, personality and look that appeals to a broad range of women.
What do you think about Emma Stone's and Olivia Wilde's Revlon 2012 ad campaign shots?


text:
/*
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *    http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 *
 */
package org.jsmpp.bean;

import java.text.SimpleDateFormat;
import java.util.Calendar;
import java.util.Date;

import org.jsmpp.util.DeliveryReceiptState;
import org.jsmpp.util.InvalidDeliveryReceiptException;

/**
 * @author uudashr
 *
 */
public class DeliveryReceipt {
    // attributes of delivery receipt
    public static final String DELREC_ID = "id";
    public static final String DELREC_SUB = "sub";
    public static final String DELREC_DLVRD = "dlvrd";
    public static final String DELREC_SUBMIT_DATE = "submit date";
    public static final String DELREC_DONE_DATE = "done date";
    public static final String DELREC_STAT = "stat";
    public static final String DELREC_ERR = "err";
    public static final String DELREC_TEXT = "Text";

    /**
     * Date format for the submit date and done date attribute
     */
    private final SimpleDateFormat dateFormat = new SimpleDateFormat(
            "yyMMddHHmm");

    private String id;
    private int submitted;
    private int delivered;
    private Date submitDate;
    private Date doneDate;
    private DeliveryReceiptState finalStatus;
    private String error;
    private String text;

    public DeliveryReceipt() {
    }

    public DeliveryReceipt(String formattedDelieryReceipt)
            throws InvalidDeliveryReceiptException {
        /*
         * id:IIIIIIIIII sub:SSS dlvrd:DDD submit date:YYMMDDhhmm done
         * date:YYMMDDhhmm stat:DDDDDDD err:E Text: ..........
         */
        try {
            id = getDeliveryReceiptValue(DeliveryReceipt.DELREC_ID, formattedDelieryReceipt);
            submitted = Integer.parseInt(getDeliveryReceiptValue(
                    DeliveryReceipt.DELREC_SUB, formattedDelieryReceipt));
            delivered = Integer.parseInt(getDeliveryReceiptValue(
                    DeliveryReceipt.DELREC_DLVRD, formattedDelieryReceipt));
            submitDate = string2Date(getDeliveryReceiptValue(
                    DeliveryReceipt.DELREC_SUBMIT_DATE, formattedDelieryReceipt));
            doneDate = string2Date(getDeliveryReceiptValue(
                    DeliveryReceipt.DELREC_DONE_DATE, formattedDelieryReceipt));
            finalStatus = DeliveryReceiptState
                    .getByName(getDeliveryReceiptValue(
                            DeliveryReceipt.DELREC_STAT, formattedDelieryReceipt));
            error = getDeliveryReceiptValue(DeliveryReceipt.DELREC_ERR, formattedDelieryReceipt);
            text = getDeliveryReceiptTextValue(formattedDelieryReceipt);
        } catch (Exception e) {
            throw new InvalidDeliveryReceiptException(
                    "There is an error found when parsing delivery receipt", e);
        }
    }

    public DeliveryReceipt(String id, int submitted, int delivered,
            Date submitDate, Date doneDate, DeliveryReceiptState finalStatus,
            String error, String text) {
        this.id = id;
        this.submitted = submitted;
        this.delivered = delivered;
        this.submitDate = submitDate;
        this.doneDate = doneDate;
        this.finalStatus = finalStatus;
        this.error = error;
        if (text.length() > 20) {
            this.text = text.substring(0, 20);
        } else {
            this.text = text;
        }
    }

    /**
     * @return Returns the delivered.
     */
    public int getDelivered() {
        return delivered;
    }

    /**
     * @param delivered The delivered to set.
     */
    public void setDelivered(int delivered) {
        this.delivered = delivered;
    }

    /**
     * @return Returns the doneDate.
     */
    public Date getDoneDate() {
        return doneDate;
    }

    /**
     * @param doneDate The doneDate to set.
     */
    public void setDoneDate(Date doneDate) {
        this.doneDate = doneDate;
    }

    /**
     * @return Returns the error.
     */
    public String getError() {
        return error;
    }

    /**
     * @param error The error to set.
     */
    public void setError(String error) {
        this.error = error;
    }

    /**
     * @return Returns the finalStatus.
     */
    public DeliveryReceiptState getFinalStatus() {
        return finalStatus;
    }

    /**
     * @param finalStatus The finalStatus to set.
     */
    public void setFinalStatus(DeliveryReceiptState finalStatus) {
        this.finalStatus = finalStatus;
    }

    /**
     * @return Returns the id.
     */
    public String getId() {
        return id;
    }

    /**
     * @param id The id to set.
     */
    public void setId(String id) {
        this.id = id;
    }

    /**
     * @return Returns the submitDate.
     */
    public Date getSubmitDate() {
        return submitDate;
    }

    /**
     * @param submitDate The submitDate to set.
     */
    public void setSubmitDate(Date submitDate) {
        this.submitDate = submitDate;
    }

    /**
     * @return Returns the submitted.
     */
    public int getSubmitted() {
        return submitted;
    }

    /**
     * @param submitted The submitted to set.
     */
    public void setSubmitted(int submitted) {
        this.submitted = submitted;
    }

    /**
     * @return Returns the text.
     */
    public String getText() {
        return text;
    }

    /**
     * Set the text of delivery receipt. Text more than 20 characters will be trim automatically.
     *
     * @param text the text to set.
     */
    public void setText(String text) {
        if (text != null && text.length() > 20) {
            this.text = text.substring(0, 20);
        } else {
            this.text = text;
        }
    }

    public String toString() {
        /*
         * id:IIIIIIIIII sub:SSS dlvrd:DDD submit date:YYMMDDhhmm done
         * date:YYMMDDhhmm stat:DDDDDDD err:E Text: . . . . . . . . .
         */
        StringBuffer sBuf = new StringBuffer(120);
        sBuf.append(DELREC_ID + ":" + id);
        sBuf.append(" ");
        sBuf.append(DELREC_SUB + ":" + intToString(submitted, 3));
        sBuf.append(" ");
        sBuf.append(DELREC_DLVRD + ":" + intToString(delivered, 3));
        sBuf.append(" ");
        sBuf.append(DELREC_SUBMIT_DATE + ":" + dateFormat.format(submitDate));
        sBuf.append(" ");
        sBuf.append(DELREC_DONE_DATE + ":" + dateFormat.format(doneDate));
        sBuf.append(" ");
        sBuf.append(DELREC_STAT + ":" + finalStatus);
        sBuf.append(" ");
        sBuf.append(DELREC_ERR + ":" + error);
        sBuf.append(" ");
        sBuf.append(DELREC_TEXT.toLowerCase() + ":" + text);
        return sBuf.toString();
    }

    @Override
    public int hashCode() {
        final int prime = 31;
        int result = 1;
        result = prime * result
                + ((dateFormat == null) ? 0 : dateFormat.hashCode());
        result = prime * result + delivered;
        result = prime * result
                + ((doneDate == null) ? 0 : doneDate.hashCode());
        result = prime * result + ((error == null) ? 0 : error.hashCode());
        result = prime * result
                + ((finalStatus == null) ? 0 : finalStatus.hashCode());
        result = prime * result + ((id == null) ? 0 : id.hashCode());
        result = prime * result
                + ((submitDate == null) ? 0 : submitDate.hashCode());
        result = prime * result + submitted;
        result = prime * result + ((text == null) ? 0 : text.hashCode());
        return result;
    }

    @Override
    public boolean equals(Object obj) {
        if (this == obj)
            return true;
        if (obj == null)
            return false;
        if (getClass() != obj.getClass())
            return false;
        final DeliveryReceipt other = (DeliveryReceipt)obj;
        if (!hasEqualId(other)) {
            return false;
        }
        if (submitted != other.submitted) {
            return false;
        }
        if (delivered != other.delivered) {
            return false;
        }
        if (!hasEqualSubmitDate(other)) {
            return false;
        }
        if (!hasEqualDoneDate(other)) {
            return false;
        }
        if (!hasEqualFinalStatus(other)) {
            return false;
        }
        if (!hasEqualError(other)) {
            return false;
        }
        if (!hasEqualText(other)) {
            return false;
        }
        return true;
    }

    /**
     * Create String representation of integer. Preceding 0 will be add as
     * needed.
     *
     * @param value is the value.
     * @param digit is the digit should be shown.
     * @return the String representation of int value.
     */
    private static String intToString(int value, int digit) {
        StringBuffer sBuf = new StringBuffer(digit);
        sBuf.append(Integer.toString(value));
        while (sBuf.length() < digit) {
            sBuf.insert(0, "0");
        }
        return sBuf.toString();
    }

    private boolean hasEqualId(DeliveryReceipt other) {
        if (id == null) {
            if (other.id != null) {
                return false;
            }
        }
        return id.equals(other.id);
    }

    private boolean hasEqualDoneDate(DeliveryReceipt other) {
        if (doneDate == null) {
            if (other.doneDate != null) {
                return false;
            }
        }
        return doneDate.equals(other.doneDate);
    }

    private boolean hasEqualError(DeliveryReceipt other) {
        if (error == null) {
            if (other.error != null) {
                return false;
            }
        }
        return error.equals(other.error);
    }

    private boolean hasEqualFinalStatus(DeliveryReceipt other) {
        if (finalStatus == null) {
            if (other.finalStatus != null) {
                return false;
            }
        }
        return finalStatus.equals(other.finalStatus);
    }

    private boolean hasEqualSubmitDate(DeliveryReceipt other) {
        if (submitDate == null) {
            if (other.submitDate != null) {
                return false;
            }
        }
        return submitDate.equals(other.submitDate);
    }

    private boolean hasEqualText(DeliveryReceipt other) {
        if (text == null) {
            if (other.text != null) {
                return false;
            }
        }
        return text.equals(other.text);
    }

    /**
     * Get the delivery receipt attribute value.
     *
     * @param attrName is the attribute name.
     * @param source the original source id:IIIIIIIIII sub:SSS dlvrd:DDD submit
     *        date:YYMMDDhhmm done date:YYMMDDhhmm stat:DDDDDDD err:E
     *        Text:....................
     * @return the value of specified attribute.
     * @throws IndexOutOfBoundsException
     */
    private static String getDeliveryReceiptValue(String attrName, String source)
            throws IndexOutOfBoundsException {
        String tmpAttr = attrName + ":";
        int startIndex = source.indexOf(tmpAttr);
        if (startIndex < 0)
            return null;
        startIndex = startIndex + tmpAttr.length();
        int endIndex = source.indexOf(" ", startIndex);
        if (endIndex > 0)
            return source.substring(startIndex, endIndex);
        return source.substring(startIndex);
    }

    /**
     * YYMMDDhhmm where:
     *

     *
YY = last two digits of the year (00-99)

     *
MM = month (01-12)

     *
DD = day (01-31)

     *
hh = hour (00-23)

     *
mm = minute (00-59)

     *

     *
     * Java format is (yyMMddHHmm).
     *
     * @param date in <tt>String</tt> format.
     * @return
     * @throws NumberFormatException if there is contains non number on
     *         date parameter.
     * @throws IndexOutOfBoundsException if the date length in <tt>String</tt>
     *         format is less than 10.
     */
    private static Date string2Date(String date) {

        int year = Integer.parseInt(date.substring(0, 2));
        int month = Integer.parseInt(date.substring(2, 4));
        int day = Integer.parseInt(date.substring(4, 6));
        int hour = Integer.parseInt(date.substring(6, 8));
        int minute = Integer.parseInt(date.substring(8, 10));
        Calendar cal = Calendar.getInstance();
        cal.set(convertTwoDigitYear(year), month - 1, day, hour, minute, 0);
        cal.set(Calendar.MILLISECOND, 0);
        return cal.getTime();
    }

    private static int convertTwoDigitYear(int year) {
        if (year >=0 && year <= 37) {
            return 2000 + year;
        } else if (year >= 38 && year <= 99) {
            return 1900 + year;
        } else {
            // should never happen
            return year;
        }
    }

    /**
     * @param source
     * @return
     * @throws IndexOutOfBoundsException
     */
    private static String getDeliveryReceiptTextValue(String source) {
        String tmpAttr = DeliveryReceipt.DELREC_TEXT + ":";
        int startIndex = source.indexOf(tmpAttr);
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redpajama_set_name: RedPajamaGithub


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Work Search: tip: hetalia f/f sort:kudos
The Bridge (Podcast)
Roger Kaplan/Bertie Renard
Bertie Renard
Roger Kaplan
Kate Burnham
Etta Perrault
A Familiar Stranger
LiterallyThePresident
They leave the Bridge, and Roger loses everything.
So does Bertie.
I still love this podcast so much
Work Text:
Leaving the Bridge was necessary, but it didn't mean they liked it. Roger had been unusually quiet the entire time, writing in his journal like he was preparing for death, but Bertie hadn't thought much of it at the time. When asked, Roger had simply said he was writing down things he'd need to remember. Bertie had left it at that.
The moment Roger set foot on the mainland, his expression had melted away into something... terrifyingly blank. He blinked, looking around as if he didn't know where he was, and Bertie felt the beginnings of dread creeping into his bones at the strange behavior, the way he glanced around as if for answers.
"Roger?" he asked, soft and worried, and Roger didn't respond until it was clear Bertie was talking to him. By then, Etta and Kate had noticed his odd behavior, and Kate's soft, wide-eyed whisper of 'no' solidified the liquid dread in Bertie's veins. He called Roger's name again, louder, more afraid this time, and Roger turned those dark eyes on him with a complete lack of recognition that chilled Bertie to the core.
"Um... I-I'm sorry, I..." Roger started, trailing off slightly, his face more open than they'd ever seen, "Do I... Where am I?"
"Roger?" Bertie asked, alarmed, and Roger tilted his head.
"I'm sorry… who?" the simple word stopped Bertie's heart dead in his chest, and he faltered. Kate seemed to see his confusion, his rising terror, and squeezed his shoulder before stepping forward until she was in front of Roger.
"What's your name?" she asked, her voice gentle yet authoritative. Roger hesitated, looking uncertain, an act that so un-Rogerlike that it made Bertie's skin crawl.
"My name is-" he started, and then stopped, "My... My name is... My name..."
"You don't remember?" she asked, her voice deceptively soft, though Bertie saw the tension in her frame. Tension mirrored by Etta when he looked to her for answers. Answers she clearly didn't have.
"Kate, what is happening?" he asked in a whisper, his eyes wide as he prayed for them to laugh and say this was all a prank, to slap Bertie on the shoulder and laugh about how gullible he was. For Roger to roll his eyes and ask if they could get moving now that the silly joke was over.
That didn't happen.
"I'm sorry." Roger said helplessly, "I'm sorry, I don't know. I don't know. Do… Do you know, miss?"
"Kate, please." Etta said softly, eyes wide and worried, "What's happening? Why is he-Why can't he remember anything?"
"I think he lost a bet." Kate explained, her face stony the way it always got when she was trying to stay strong, "I suspected, but I thought it was just a story. But this… It's more Bridge bullshit. All I can say for sure is that leaving the Bridge seems to have triggered total amnesia."
" No !" Bertie exclaimed vehemently as Etta gasped, his entire being railing against her words, "No, that can't be! Not Roger, not him, he can't- "
"Bertie-"
"He can't have lost everything!" he continued, tears springing to his eyes as the tremors overtook his whole body, dangerously close to panicking, "He can't have! He's Roger, our Roger, he's… he's…" Irreplaceable. Indispensable. Precious. Their cantankerous rock in a stormy sea. His rock. The man he'd come to love despite everything, the man whose voice soothed his anxieties and whose touch calmed his nightmares, whose vocal dissatisfaction with everything around him made Bertie laugh even in the darkest moments.
Roger looked at him with an expression of polite confusion, more open and vulnerable than Bertie had ever seen him.
"Are you… okay, sir?" he asked him softly, like he was a perfect stranger.
Bertie broke. A sob escaped him, and as Kate squeezed Etta's trembling hand, Bertie wrapped his arms around Roger like a lifeline. Roger started, but didn't try to pull away, although he didn't reciprocate either. Nor complain like he should have. Bertie held him close, trembling as he clung to him and buried his face in Roger's shoulder. Roger patted his back, but Bertie could tell the gesture was more politeness than anything else. It made his throat constrict even more, the pit in his stomach deepening.
"It's okay." he whispered, as if Roger was the one who needed to hear it, as if Bertie's world wasn't falling to pieces around him, "It's okay. We're gonna figure this out, Roger. We're gonna figure this out."
"If you… say so?" Roger said, sounding so confused. It broke Bertie's heart. He held him closer, as if he could protect his supervisor from the world, from his own mind. Kate was speaking quietly to Etta, but Bertie's entire focus was on the familiar stranger in his arms.
Later, they would remember the journal he'd written in so dedicatedly. Later they would all curl up on the couch with Roger in the center, safe and warm and slowly growing used to the strangers he'd once called friends. They would all read the journal together, learn about how he saw the world, the truth about his existence, the way he loved and protected his friends even as he tried to keep them at arm's length. There would be tears from some, and watery laughter from others, and Bertie's hand would never leave Roger's arm even for a moment as they all tried to get used to this new Roger.
For now, Bertie held Roger close, mourning the man he loved for a second time.
remi_wolf, staringatstars, Vnor, and CharacteristicallyMinor as well as 2 guests left kudos on this work!
CharacteristicallyMinor Mon 12 Aug 2019 02:20AM UTC
I love love love the second to last paragraph, especially "Later they would all curl up on the couch with Roger in the center, safe and warm and slowly growing used to the strangers he'd once called friends."
staringatstars Wed 26 Feb 2020 09:14PM UTC
You know, I don't think I fully realized the tragedy of Roger/Bertie until I was today years old


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Home > List of families > Asteraceae > Vernonia > anthelmintica
Spot-characters for:
Vernonia anthelmintica (L.) Willd.
The following is a list of spot-characters recorded for this species.
No spot characters found
Hyde, M.A., Wursten, B.T., Ballings, P. & Coates Palgrave, M. (2023). Flora of Zimbabwe: Spot characters for: Vernonia anthelmintica.
https://www.zimbabweflora.co.zw/speciesdata/spots-per-species-display.php?species_id=158130, retrieved 2 February 2023
Site software last modified: 15 October 2018 12:01pm (GMT +2)


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Genealogy provides many trails to the past through research on pedigree lines and family histories. Searching for ancestors and studying the times in which they lived is like starting on a trail with no map or even a sense of what's out there to be explored. There is no magic moment when you can say, "I'm done. I'm finished. I've reached the end of the trail." While the trail may fade and become obscure, you know that if you start moving in ever-expanding circles you will eventually find a trail.
I started tracing my family over 30 years ago. About 20 years ago, the particular trail I was on became very, very faint. The clues were few and vague. Since then I've tried several trails, but none has led me to my professed destination. I still continue to search, although rather sporadically and feebly, for where my Huguenot émigré ancestor Jean Pierre Thibaut came from in France, but the desire to reach that particular goal has been replaced by another--understanding the emigrant experience.
After some period of wandering from France to Germany to Switzerland and back to Germany (with possibly other stops that I don't know about), Jean Pierre Thibaut settled in Welschneureut, Baden where he died in 1707. His son Jean Philippe Thibaut, who was born in Welschneureut, eventually settled in Friedrichstal, a nearby community.
Neureut is an old town (13th century) that due to its location along the Rhein was continually in the path of armies on the move. Basically decimated during the 17th century, first during the Thirty Years War and then again during the War of Palatine Succession, it needed repopulating at a time when there were thousands of French-speaking Protestant refugees in need of a new homeland. The first group of 58 families arrived in 1699. Their colony was referred to as Welschneureut, while the original, German-speaking village became known as Teutschneureut.
Friedrichstal, on the other hand, is a new village less than 10 miles from Neureut. It did not exist before being chartered in 1699 specifically for French-speaking Protestant refugees. Its original site plan called for 25 houses.
In both Welschneureut and Friedrichstal the refugees founded French-speaking reformed churches. The records of these churches provide a window to the past, to the lives of people who had to escape their homeland and settle in a foreign land if they were to continue to practice their religion.
As a first step towards gaining some understanding of the lives of these Huguenot refugees, I have transcribed and published the first 100 years of records for these churches in Friedrichstal Church Records 1698-1812 (Heritage Books will reprint if it receives sufficient requests) and Welschneureut Church Records, Welschneureut, Germany 1700-1809.
My next project is to publish the genealogies of the families which settled and remained in these two towns during the 18th century. Some of the surnames that will be included are: Barrie (Barrier), Borel, Calmet (Calmez), Desmarais, Dupuis, Girot (Giraud), Gorenflo, Herlan, Hornung, Lacroix, Roux, Terras, and Thibaut.


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Get Tropic of Cancer from Amazon.com
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Tropic of Cancer Setting & Symbolism
This Study Guide consists of approximately 43 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of Tropic of Cancer.
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Paris has long been known as a center for literature and art. This reputation draws Henry to the city, as he tries to become a writer, and he cannot leave Paris for long. The suburbs do not have the same attraction, nor does Dijon. Henry must make his transition in Paris, and after he does, he feels the calm beauty and deep history of the place.
Henry often thinks of his home country, America, and his home city, New York. With distance comes fondness, but he realizes that America is a concept, an abstraction that does not truly exist. He also remembers how America and New York City could not help him, whereas Paris does.
Dijon is the French town that becomes a limbo for Henry, and he experiences true suffering while there. This experience helps him to make the transition into being a writer...
More summaries and resources for teaching or studying Tropic of Cancer.
Tropic of Cancer from BookRags. (c)2023 BookRags, Inc. All rights reserved.


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We started browsing for intelligent recipes for steaks. Most recipes will feature black pepper, mushroom etc. Being Asian, we love a robust flavour and juicy tenderness of the meat. For this spice mixture, chef Josef Centeno, of Baco Mercat in Los Angeles, was inspired by the coffee rub his father used to make for grilling steaks. Basting with butter before transferring the pan to the oven helps bloom the dried spices and adds irresistible flavour to the meat.
We're definitely looking at the Best of Both Worlds – Coffee and Beef.
Mix all ingredients in a medium bowl. Transfer to an airtight container. DO AHEAD: Spice rub can be made 1 month ahead. Store airtight at room temperature.
Preheat oven to 400°F (approx 200°C). Set a wire rack inside a large rimmed baking sheet. Season steak with kosher salt and 2 tablespoons spice rub, pressing onto all sides of meat and adding more spice rub by the teaspoonful if needed to coat entire surface.
Heat 2 tablespoons oil in a large cast-iron or other ovenproof skillet over high heat. When oil begins to shimmer, place steak in skillet (be sure to have fan on high; the rub creates some smoke). Sear steak for 1 minute (any longer and the rub will start to burn). Transfer steak to a plate and carefully drain fat from skillet.
Wipe skillet clean with a paper towel. Heat remaining 2 tablespoons oil in skillet and sear other side of steak for 1 minute. Add butter, garlic, and herbs to skillet; cook until butter is foamy. Carefully tip skillet and, using a large spoon, baste steak repeatedly with butter for 1 minute. Turn steak and baste other side for 1 minute.
Pile herbs on top of steak, transfer skillet to oven, and roast until an instant-read thermometer inserted horizontally into center of meat registers 125° for medium, 15-17 minutes.
Transfer steak to prepared rack; let rest for 20 minutes. Sprinkle with sea salt and serve.


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Matthew Reilly (Director) Wiki, Biography, Age, Girlfriends, Family, Facts and More
John White 8 months ago No Comments
Matthew Reilly is a famous Director, Writer, Filmmaker, and Screenwriter from Australia. He became popular for Broadway's direction of Interceptor. In his independent ventures, he hopes to meet and collaborate with like-minded creative people and create groundbreaking content that has never been seen before. Matthew has always been quiet and known originally for his work behind the camera. He got popular for his Acts. Matthew is dedicated to conveying captivating stories of progressive towns and individuals as a film and theatre director and screenwriter, with the objective of encouraging constructive social change in the world. In addition to his varied skill set, he has worked with some of the industry's most recognized names. He became famous on various social media platforms quickly after his photos and videos went viral, and he earned millions of followers. He has a huge fan following. As a writer, he has written numerous exciting and thrilling novels like Contest, Temple, Troll Mountain, The Great Zoo of China, Seven Ancient Wonders, The Three Secret Cities and many more. He has continued to increase his popularity across several social media platforms. His massive following which can be largely attributed to his ingenuity and creativity has attracted the attention of several brands across the globe. We will walk you through all about him. Check out his Wiki, Age, Family, Facts, and More.
A post shared by Matthew Reilly (@matthewreillyofficial)
He hails from New South Wales, Australia., and is Australian in Nationality. He is 74 years old as of 2021. His Zodiac sign is Aries. He was born on 2 July 1974.
He went to Sydney's St Aloysius' College.
Later he attended the University of New South Wales for his higher education.
He has written various successful novels including, The One Impossible Labyrinth, The Four Legendary Kingdoms, Cobalt Blue, Scarecrow and many more
He has also written some short stories including, Jack West Jr and the Chinese Splashdown, The Dead Prince, Altitude Rush, The Rock Princess and the Thriller Writer, Complex 13 and many others.
He has been seen at various Red Carpet Events, Award Shows, Movie screenings
He endorses various renowned brands
He frequently information about his books and novels on his Instagram
He often shares cover pictures of his upcoming projects on his Instagram
He usually shares trailers of his upcoming movies on his Instagram Handle
Check out his Interview on YouTube
He loves selfies. His Instagram is full of selfies
He is Smart and Cute. He is hugely popular among the youth. He is approximately 6'2" inches tall and weighs around 71 kg. He has an average build. He has brown eyes and brown hair.
Family, Religion & Girlfriends
Nothing much is known about his family.
He is rumored to be in relationship with Kate Freeman.
His Instagram Id is matthewreillyofficial
He has 26K+ followers on his Instagram.
His Twitter ID is @Matthew_Reilly
He has 14K+ followers on his Twitter Account
He has worked as a professional writer.
Nothing much is known about his parents.
He keeps posting his amazing pictures on his Instagram
He is quite popular for his stylish looks
He hopes to inspire the next generation to follow their dreams and succeed after going viral on the popular app.
He has a huge audience, and you can see how he gives them credit for his growth on social media by always posting new content for them to enjoy.
It takes a long time to build deep relationships with audiences, but his friendly nature did it very quickly.
People love to watch his videos and have fun with them by liking, commenting, and sharing his videos.
He is nothing short of an inspiration for all those that follow him
He has managed to put his passion into a successful career that he loves as well.
His content is unique from the rest of the Influencer and, that makes him stand out from the others.
Because of his popularity, many established brands reach out to him for their promotion.
He loves to do different adventures.
He has won various awards and honors
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