Developed the one-transistor dynamic random access memory (DRAM).
Robert Dennard, who grew up in rural Texas and started school in a one-room schoolhouse, says he "had a lot of time to think and read and contemplate." He recounts that he was always looking for better ways to do things, such as a faster way to chop kindling for the stoves. He later brought this penchant for improvement to IBM, where he developed the one-transistor dynamic random access memory (DRAM)—the paragon for low cost digital memory, ubiquitous in the computer industry today. At IBM, he also developed a significant theory on electronic device scaling, which has been a driving force in microelectronics. For these achievements, Dennard is the 2005 recipient of the $100,000 Lemelson-MIT Lifetime Achievement Award.
In 1966 Dennard was a member of an IBM team doing research on a six-transistor memory cell, and he thought there must be a simpler method to build memory in this technology. His solution evolved as a single field-effect transistor that performed the reading and writing of information stored as an electric charge on a capacitor, now commonly known as a DRAM cell. This technology, patented in 1968, expended less energy and was cheaper than earlier magnetic memory. It was introduced in products on the market in the 1970s and today is the foundation for memory (RAM) in most computer components and systems.
Dennard and his colleagues also conceived the scaling theory, a concept of reducing the dimensions of metal-oxide field effect transistors (MOSFETs) and their interconnecting wires, which led to denser, less expensive and faster integrated circuits, whose properties grew directly proportional to the degree of miniaturization. Dennard published this theory in 1974 in the paper "Design of Ion-Implanted MOSFETs With Very Small Physical Dimensions." It is now a "Classic Paper" as recognized by the Proceedings of the Institute of Electrical and Electronic Engineers in 1999. The scaling theory, which drives miniaturization in the industry, has enabled computing to be portable, from laptops to cell phones to other technological devices. He has continued to build on the scaling theory over the last 30 years at IBM, where engineers have pushed the edges of the theory's physical limits.
Dennard received his BS (1954) and MS (1956) in electrical engineering from Southern Methodist University in Dallas, Texas and his PhD (1958) in electrical engineering from Carnegie Institute of Technology in Pittsburgh, Pa., today Carnegie Mellon University. After completing his degrees, Dennard joined IBM , where he continues research today as an IBM Fellow at Yorktown Heights, N.Y. "I wasn't that involved in really creative things until I came to IBM and they handed me a patent notebook, and they said, 'put all your ideas in here,'" remarked Dennard. Since 1965, he has been granted 35 U.S. patents in semiconductors and microelectronics.


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drizzle is an ergonomic shower dispenser with a sleek, modern design to store your shower essentials. The triple chamber offers convenient storage for your shampoo(s), conditioner(s), and/or body wash.
We offer free 2-day shipping on all U.S. orders except for Hawaii and Alaska (4-5 business days).
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The company warrants a 90-day guarantee to the original retail purchaser that this product or any part thereof will be free from defects in material and workmanship. This warranty applies when the product is used under normal conditions for the purpose for which the product is designed, and does not cover damage arising from abusive wear and tear, or damage related to alteration, accident, misuse, improper care, or negligence. This warranty is in lieu of all other warranties, expressed or implied, and no person or representative is authorized to assume for the company any other liability in connection with the sale of this product. If it is determined that the product is defective, return the product with proof of purchase to the Blue Chip Group LLC dealer from which it was purchased.
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You may return your drizzle to us within 15 days from the receipt of the shipment. Return freight charges must be paid by you. Product must be in new unused condition and in original box.
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text:
"Lotto" rug, XVII century, Western Turkey, Ushak Region, Ottoman Empire.
A 'LOTTO' RUG
PROBABLY USHAK, WEST ANATOLIA, LATE 17TH CENTURY
Price realised GBP 43,750
Christie's Sale 14217
Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets
27 April 2017, London
GBP 15,000 - GBP 25,000
Minor touches of wear, naturally corroded black, a couple of minute repairs, overall very good condition
5ft.2in. x 4ft. (156cm. x 122cm.) including kilims
The popularity of the 16th century 'Lotto' design resulted in an increased production of the type in the following century with the majority of these, like the 'Transylvanian' rugs, being woven for the European market. One characteristic of later examples, that developed over the course of the century, appears to be the use of an increasingly wide border in comparison to the field proportions. The two most frequently encountered border types are the cartouche design and the cloud band design as seen here. When illustrated in paintings from the period, the rugs were generally depicted as 'table' coverings, although in some depictions they were used on the floor. An unusual feature in this example is that each 'cloudband' motif faces towards the field which could indicate that it was intended to be used on a raised surface where the border design could be viewed from all four sides. The field designs were divided into three different groups by Grant Ellis (Charles Grant Ellis, 'The 'Lotto' Pattern as a Fashion in Carpets', in A. Ohm & H. R. (eds.), Festschrift für Peter Wilhelm Meister zum 65. Geburstag am 16. Mai 1974, Hamburg, 1975, pp.19-31), a division of styles which has been used almost universally. The field of the present carpet falls into the 'kilim' style, typified by the serrated edges of the motifs. The geometry of the design in this example is particularly well balanced with a strong vertical axis running through its centre, yet clearly demonstrates the endless repeat of the pattern that sits within its imposing frame.
The present rug is in a remarkably well-preserved condition with the majority of the pile remaining long and lustrous where so often it has worn away completely. The thickness of pile displays a rich palette consisting of over eight different colours, including apricot, sea-green, light blue, indigo, ivory, brown, black and golden yellow. Upon closer inspection, one can see that the design is woven with small playful interchanges of colour within each separate motif, and that each of the petals on the snow-flake like flowerheads is tipped with a single ivory knot which highlights the motif further, creating a glistening effect. A very similar example is housed in the Museum of Applied Arts, Budapest, inv.no. 7.969, however the endless repeat design is not as centralised as our example (M. Franses, In Praise of God, Anatolian Rugs in Transylvanian Churches, 1500-1750, Sabanci University, Istanbul, 2007, pl.7, p.138). A number of comparable examples are preserved in Hungary and Romania (Gyula Vegh and Karoli Layer, Turkish Rugs in Transylvania, London, 1977 reprint, pl.5; Ferenc Batari, Ottoman Turkish Carpets, Budapest, 1994, no.13, p.108). This latter example is particularly close to the present rug with its large scale cloudband motifs pointing away from the centre of the rug. Another similar example sold in these Rooms, from The Aita Collection, 18 October, 2001, lot 228.
Provenance: Sold in Christie's, 9 July 1981, lot 50
Pre-Lot Text
PROPERTY FROM A PRIVATE ENGLISH COLLECTION
Hali Notes:

redpajama_set_name: RedPajamaCommonCrawl


Brian Poole and the nucleus of the original Tremeloes all went to Park Modern Secondary School in Barking Essex, where they started the band in early 1956.
Brian has spent the last 6 years almost constantly on the road, with the show 'Reelinand a Rockin' performing sell out concerts as far afield as Hong Kong, Australia, New Zealand, as well as being the first sixties show ever to perform in China. In 2007, Brian was booked to tour with the original Tremeloes comprising Chip Hawkes, Ricky West, Dave Munden, Joe Gillingham and Jeff Brown, leaving selected dates for working with his own band, the Electrix, or solo. In 2008-9 Brian toured with PJ Proby in the show 'Oh Boy' non-stop 60's.
Brian was born in 1941 in the East End of London and is a true cockney, with a family who were in the hard working world of the famous London Markets. This fact led him to write a book with the title 'Talk Back'- which is a complete guide to British Colloquialism or Slang. In his career with The Tremeloes, Brian Poole completed three world tours and many UK tours, live, working in recording studios and in films, featuring a host of stars of these professions. He started his career as a studio backing vocalist and often imparts a wealth of amusing and even controversial stories about the 60's era and its stars, many of whom Brian and the Trems backed vocally on their recordings.
Brian and the Tremeloes went their separate ways, with Brian pursuing a solo career and at the same time forming his own record company (Outlook Records). When not touring with the stars of 'ReelinandaRockin' he works with his backing band, Electrix, whose line-up consists of keyboards, lead guitar, bass guitar and drums, with vocal harmonies added to give the band a great Rock 'n' Roll sound when playing all the hits, as well as a contemporary feel likened to some of the great American bands. Electrix are now back to an original line-up of Mark Francis, Ray Begg, Tony Allen and Cliff Simons.
Brian has entered into many more recording projects and has completed a new album/C.D. called 'Antique Gold' and a single written for him by his daughters. Also Brian presented his BBC Essex 3 hour 'live' radio show with great success. In the future, he hopes to be regularly 'going live' with his own style radio show, listeners' memories, competitions and phone in's.
One of his biggest thrills came in 1986 with a televised appearance by Royal Command on THE ROYAL GALA PERFORMANCE, but this was soon overtaken by the huge success of his daughters as Alisha's Attic and as hit writers for many No. 1 artistes including Kylie & Danni Minogue, Will Young, Janet Jackson, Sugababes, Atomic Kitten, Amy Studt, Shapeshifters, Rachel Stevens and many more. Youngest, daughter Shelly Poole has penned many top 20 hits and has been busy writing songs for her own band Red Sky July, while other daughter Karen has written several top three records over this year.
With expanding date sheets for 2010 and 2011, including return visits to Scandinavia, Europe and Australia and a 4 month UK tour with the 25th Anniversary Solid Siver 60's show and his long awaited tours with Chip Hawkes and the original Tremeloes, retirement is not an option!
Can be booked as Brian Poole & Electrix - self-contained band or solo with backing tracks.


text:
« 7 February 1979: Foucault on the ORDOs as Applied Husserlians (XVI) | Main | Cancel Culture Just is the Market-Place of Ideas »
Kim Sterelny on Integrative Philosophy of Science
Kim Sterelny: I think philosophers do two different things. So one of the things that they do is methodological. They reflect upon the methods of the natural sciences. When someone says, I do philosophy of science, especially if they said I do philosophy of science 20 years ago or 30 years ago, what they probably would have been doing is that in the last 10 to 15 years, there's been a different kind of philosophy of science, something that always existed, but was sort of more peripheral, has become more central and that is to see philosophy as having a kind of integrative of role. So one of the things about the sciences is a relentlessly forced specialisation and sub-specialisation and even further sub-specialisation, you know, because the literature in any one area becomes so vast, the technical demands of experimentation and so on become so intense that it becomes it becomes more and more difficult for someone who is an active practitioner of science, who's actually kind of generating the data or building the formal models to do — to also integrate across different fields. So this integrative role is becoming more and more important in philosophy of science and that requires people like me who are prepared to kind of immerse themselves in the empirical literature of different fields and become, if not fluent in them, at least slightly more than a broken L2 speaker of them. Ah, do a little bit of pidgin biology and pidgin linguistics in order to try and put together overall pictures. You know, assemble from the different fragments that are provided by the different sciences something like an integrative overview and that both gives us an overall picture, but it also generates new questions. As you go from the micro scale to the meso scale to the macro scale, new issues and new problems emerge. So those are the two main areas in which I think philosophers have contributed historically, more the first, on the methodological issue, now increasingly I think this kind of integrative overviewing, trying to put together a synthesised story from the various bits and pieces that the different sciences provide. And my work's been much more of the second kind than the first kind. I mean, I have done a bit on the first side, you know, but I would think of myself as working centrally in that kind of second theme.--Kim Sterelny interviewed by Rosey Billington, June 2020 [HT Walter Veit]
I encountered a reference to the interview of Sterelny in a excellent, methodological chapter of Walter Veit's dissertation on what I have been calling 'synthetic philosophy'' (see also recent post). I was immensely pleased by the interview (not least because the transcript and the video are both available). But for present purposes primarily because of the passage quoted above. In my original article I had used Sterelny as an exemplar of synthetic philosophy (check out note 15)! And so I was pleased to see him describe himself that reasonably fit what I had ascribed to him. (When I do history of philosophy my subjects do not talk balk; so it's always a bit nerve-wracking when a subject does even if they are unaware of me.)
Before I get to that I want reflect a bit on Sterelny's distinction between two kinds of philosophy of science. The second kind of philosophy of science, which I dub integrative philosophy (so as not to saddle him with what I call synthetic philosophy, and also to make a distinction between the two below) is while not new, increasingly important. The first, more traditionally important kind of philosophy of science is focused on scientific methodology. This surprised me because while Sterelny is about a generation older than I am, I would not have expected this answer. Let me explain.
When I was a PhD student at the end of the twentieth century, the quasi-Reichenbachian distinction between context of discovery and context of justification was taught as a rejected wisdom. But in practice, the idea that there was no true genuine method or logic of scientific discovery was kind of accepted (unless you were some die-hard Popperian). This meant that if you were interested in philosophy of science, you could either (i) study norms of justification (in confirmation theory or epistemology), which rests on a quasi-transcendental assumption (QTA): if anything counts as knowledge it is fallible science, so let's now articulate how this is possible; or (ii) you could do a kind of study of messy reality of the special sciences in practice/history. The latter option led to the growth of interest in models, mechanisms, measurement, simulation, etc.; (iii) or you became a kind of speculative cosmologist at the farthest reaches of mathematical physics or contributed to theoretical biology, theoretical cognitive science, etc. A lot of us were weird mixtures.
To put this in anecdotally and as an aside. I was familiar with a methodologist and have even co-authored with one; my then somewhat obscure undergraduate teacher, George Smith, was focused on evidential arguments in science, but (a) it was for a long time disconnected from the rest of philosophy of science, and (b) it self-consciously treated the practice of turning data into high quality evidence as a historical process extended over centuries. Since now, Smith has inspired the rise of a school (mediated through Michael Friedman and Katherine Brading) it may be worth articulating distinctive features of it. But that's for another time.
Anyway, maybe I am misremembering the state of play or maybe Sterelny and I inhabited slightly different ecological niches in the profession (related to age difference). Let me turn to his account of integrative philosophy. It is a response to the cognitive division of labor and hyperspecialization within and among the sciences. And this generates an intellectual demand for integration. The way Sterelny describes it echoes (perhaps subconsciously) the treatment of pidgin at the borders of scientific trading zones popularized by Peter Galison (which now has its own wikipedia page). But the integrative philosopher is not trading between sciences (or technology) but with the system of sciences. And rather than creating a unified language -- in the manner of Neurath's unity of science or Quine's regimented language --, the integrative philosopher can speak lots of pidgin.
The aim of the integrative philosopher is to produce synthetically an 'overall picture,' and perhaps to generate new research questions at the level of the special sciences and/or the general picture. Sterelny is a bit vague (it's a short interview) what this is a picture of, but presumably it is a part of what is known as the scientific image. I say 'part' because presumably nobody can learn a sufficient number of pidgins to present a complete overall picture. I wouldn't be surprised if, before long, we will have integrative philosophers who will offer a scientific image based on a number of such partial scientific images ground in scientific pidgins.
What is worth noting here is that Sterelny is very clear that to be an integrative philosopher is high risk! For leaving aside the fact that sciences may evolve and leave one having bet on the wrong horse (ask all the philosophers who cited underpowered, unreplicated studies), if one is not an expert in the field one may well miss key nuance or distinction (this may even be consequence of the pidgin, which may be underpowered relative to the highly mathematical underlying science). It also means that an integrative philosopher lacks what we may call, distinctive expertise. She is a hybrid persona, who is open to criticism both at the level of the special sciences and at the integrative level.
Now in many ways Sterelny's integrative philosopher is much like what I have called a 'synthetic philosopher.' (Recall: by synthetic philosophy I mean a style of philosophy that brings together insights, knowledge, and arguments from the special sciences with the aim to offer a coherent account of complex systems and connect these to a wider culture, policy, or other philosophical projects (or both). In particular, the synthetic glue tends to be a general theory or theories.) But there is a key difference. From a synthetic philosophy perspective, generating a whole picture, the integration, requires a particular kind of language, that is a general theory (in other posts I have given examples of the kinds I have in mind). And such a theory creates constraints on the nature of integration and also reduces risk.
Obviously, if one only focuses on the integrative element in synthetic philosophy there is no real difference between Sterelny's comments and synthetic philosophy. Yet, on my view, a synthetic philosopher is an expert on a general theory (the glue of integration) in addition to pidgin competence in the special sciences. (Of course, sometimes the general theory -- e.g., game theory, bayesianism, evodevo, ANT, etc -- is already spoken in the special science.) I don't want to overemphasize my present differences with Sterelny. He is one of the foremost philosophical Darwinian theorists of our age, and I was pleased to single him out as an exemplary synthetic philosopher in my paper. And so I don't view what I am saying as a criticism of his (first order) philosophy. (He is more a synthetic philosopher in practice than I am!) But there is a difference between being a highly skilled amateur in many domains, the integrative philosopher, and the expertise with distinctive standards of evaluation that a synthetic philosopher applies and develops.
Posted at 02:26 PM in Daniel C. Dennett, Philosophy of Science, Popper, Professional Philosophy, Quine | Permalink
"pidgins" - I think this is an unnecessarily pessimistic picture. Consider, say, the contents of the current issue of the American Journal of Epidemiology
https://academic.oup.com/aje/issue/189/5
It covers causal inference, statistical methods, COVID-19, toxicology, school policy and physical and mental health, cognitive psychology, biology of chronic renal disease etc etc. An epidemiologist will be expected to have some real familiarity with all these topics, even if they specialize in particular areas. I don't think of these are all "easy" topics.
Posted by: David Duffy | 07/15/2020 at 02:39 AM
Nice pieces, both Kim and Eric. One thing that has to be reckened for, at least in the US. There is no coup counted, there is no glory, in what is loosely called "inter-disciplinary work." For example, my work that was published in physics journals was for years not counted. I think this prejudice lingers in departments, particularly very conservative philosophy departments, and must be reckoned with.
Posted by: George Gale | 07/16/2020 at 02:10 AM


text:
Super Bowl XLV był czterdziestym piątym finałem o mistrzostwo zawodowej ligi futbolu amerykańskiego NFL, rozegranym 6 lutego 2011 roku na stadionie Cowboys Stadium w Arlington w Teksasie.

Spotkały się w nim zespoły mistrza konferencji AFC, Pittsburgh Steelers oraz mistrza konferencji NFC, Green Bay Packers. Było to czwarte zwycięstwo Packers w Super Bowl na pięć występów w finale. Steelers pomimo przegranej nadal pozostają zespołem o największej liczbie tytułów. Zwyciężali sześć razy na osiem występów.

Najbardziej wartościowym graczem spotkania został quarterback Packers Aaron Rodgers.

Hymn Stanów Zjednoczonych przed meczem zaśpiewała Christina Aguilera, zaś w przerwie meczu na stadionie miał miejsce minikoncert The Black Eyed Peas, Ushera i Slasha.

Linki zewnętrzne
 Super Bowl XLV na nfl.com

45
2011 w sporcie
Sport w Teksasie
2011 w Stanach Zjednoczonych
Arlington (Teksas)

redpajama_set_name: RedPajamaWikipedia


text:
https://www.law.com/almID/1202437416239/
Court Rejects Habeas Petition From Lawyer Convicted of Forging Judge's Order
A federal judge has refused to overturn the conviction of Perry Reich, the Long Island, N.Y., appellate attorney who was disbarred and served nearly two years in prison for forging a federal magistrate judge's order. Reich claimed he was denied effective assistance of counsel, that the prosecution failed to turn over Brady material and that the court received a "private" sentencing recommendation from the probation department.
By Mark Fass | Updated on January 06, 2010
The original version of this story was published on Law.Com
A federal judge has refused to overturn the conviction of Perry Reich, the Long Island, N.Y., appellate attorney who was disbarred and served nearly two years in prison for forging a federal magistrate judge's order.
Reich claimed he was denied effective assistance of counsel, that the prosecution failed to turn over Brady material and that the court received a "private" sentencing recommendation from the probation department.


text:
using std::list;

#include "supersonic/base/memory/memory.h"
#include "gmock/gmock.h"

namespace supersonic {
// This class is a buffer allocator which will grant memory according to
// a predefined user description.
class MockBufferAllocator : public BufferAllocator {
 public:
  enum Behaviour { GRANT_MAX, GRANT_MIN, DO_NOT_GRANT, FAIL_ON_CHECK };

  explicit MockBufferAllocator(Behaviour default_behaviour)
      : default_behaviour_(default_behaviour),
        internal_allocator_(HeapBufferAllocator::Get()) {}

  MockBufferAllocator(BufferAllocator* allocator,
                      Behaviour default_behaviour)
      : default_behaviour_(default_behaviour),
        internal_allocator_(allocator) {}

  virtual ~MockBufferAllocator() {}

  void set_default_behaviour(Behaviour behaviour) {
    default_behaviour_ = behaviour;
  }

  void add_predescribed_sizes(const list<size_t>& added) {
    predescribed_sizes_granted_.insert(
        predescribed_sizes_granted_.end(), added.begin(), added.end());
  }

  void clear_predescriped_sizes() {
    predescribed_sizes_granted_.clear();
  }

  bool predescribed_sizes_empty() {
    return predescribed_sizes_granted_.empty();
  }

 private:
  virtual Buffer* AllocateInternal(size_t requested,
                                   size_t minimal,
                                   BufferAllocator* originator);

  virtual bool ReallocateInternal(size_t requested,
                                  size_t minimal,
                                  Buffer* buffer,
                                  BufferAllocator* originator);

  virtual void FreeInternal(Buffer* buffer);

  // Helper function. Grants bytes memory into the returned buffer (via the
  // internal_allocator_), CHECKs for success.
  Buffer* Grant(size_t bytes, BufferAllocator* originator);

  // Helper function. Reallocates bytes memory into the returned buffer (via the
  // internal_allocator_), CHECKs for success.
  bool ReGrant(size_t bytes, Buffer* buffer, BufferAllocator* allocator);

  // Describes the behaviour of the allocator for the next calls. The first call
  // will receive memory equal to the first item on the list or the maximal
  // requested value, whichever is lower, unless the value from the list is
  // lower than the minimal value, in which case allocation fails.
  //
  // If you want to ensure that the request succeeds, put a
  // static_cast<size_t>(-1) in.
  //
  // Each item on the list is used for exactly one call to the the allocator,
  // and then removed from the list. If the list is empty, the default behaviour
  // is used.
  list<size_t> predescribed_sizes_granted_;
  // Defines the behaviour of the allocator if the predescribed_sizes_granted_
  // list is empty. Note that calls with a zero minimal value always succeed, as
  // per the contract of the BufferAllocator;
  Behaviour default_behaviour_;
  // The allocator to which all calls get delegated.
  BufferAllocator* internal_allocator_;

  DISALLOW_COPY_AND_ASSIGN(MockBufferAllocator);
};

class MemoryStatisticsCollectorMock
    : public MemoryStatisticsCollectorInterface {
 public:
  MOCK_METHOD1(AllocatedMemoryBytes, void(size_t bytes));
  MOCK_METHOD1(RefusedMemoryBytes, void(size_t bytes));
  MOCK_METHOD1(FreedMemoryBytes, void(size_t bytes));
  MOCK_METHOD0(Die, void());
  virtual ~MemoryStatisticsCollectorMock() { Die(); }
};

}  // namespace supersonic

#endif  // SUPERSONIC_BASE_MEMORY_MEMORY_MOCKS_H_

redpajama_set_name: RedPajamaGithub


text:
package lib

import (
	"os"

	. "gopkg.in/check.v1"
)

func (s *OssutilCommandSuite) TestUserQosGetError(c *C) {
	bucketName := bucketNamePrefix + randLowStr(12)
	s.putBucket(bucketName, c)

	// command test
	var str string
	strMethod := ""
	options := OptionMapType{
		"endpoint":        &str,
		"accessKeyID":     &str,
		"accessKeySecret": &str,
		"stsToken":        &str,
		"configFile":      &configFile,
		"method":          &strMethod,
	}

	// method is empty
	qosArgs := []string{CloudURLToString(bucketName, "")}
	_, err := cm.RunCommand("user-qos", qosArgs, options)
	c.Assert(err, NotNil)

	// method is error
	strMethod = "gett"
	_, err = cm.RunCommand("user-qos", qosArgs, options)
	c.Assert(err, NotNil)

	s.removeBucket(bucketName, true, c)
}

func (s *OssutilCommandSuite) TestUserQosOptionsEmptyEndpoint(c *C) {
	bucketName := bucketNamePrefix + randLowStr(12)
	s.putBucket(bucketName, c)

	cfile := randStr(10)
	data := "[Credentials]" + "\n" + "language=CH" + "\n" + "accessKeyID=123" + "\n" + "accessKeySecret=456" + "\n" + "endpoint="
	s.createFile(cfile, data, c)

	var str string
	strMethod := "get"
	options := OptionMapType{
		"endpoint":        &str,
		"accessKeyID":     &str,
		"accessKeySecret": &str,
		"stsToken":        &str,
		"configFile":      &cfile,
		"method":          &strMethod,
	}

	qosArgs := []string{}
	_, err := cm.RunCommand("user-qos", qosArgs, options)
	c.Assert(err, NotNil)

	os.Remove(cfile)
	s.removeBucket(bucketName, true, c)
}

func (s *OssutilCommandSuite) TestUserQosGetConfirm(c *C) {
	bucketName := bucketNamePrefix + randLowStr(12)
	s.putBucket(bucketName, c)

	// user-qos command test
	var str string
	strMethod := "put"
	options := OptionMapType{
		"endpoint":        &str,
		"accessKeyID":     &str,
		"accessKeySecret": &str,
		"stsToken":        &str,
		"configFile":      &configFile,
		"method":          &strMethod,
	}

	qosArgs := []string{}
	_, err := cm.RunCommand("user-qos", qosArgs, options)
	c.Assert(err, NotNil)

	// get qos
	qosDownName := "ossutil-test-file-" + randLowStr(12) + "-down"
	strMethod = "get"
	options = OptionMapType{
		"endpoint":        &str,
		"accessKeyID":     &str,
		"accessKeySecret": &str,
		"stsToken":        &str,
		"configFile":      &configFile,
		"method":          &strMethod,
	}

	qosArgs = []string{}
	_, err = cm.RunCommand("user-qos", qosArgs, options)
	c.Assert(err, IsNil)

	qosArgs = []string{qosDownName}
	_, err = cm.RunCommand("user-qos", qosArgs, options)
	c.Assert(err, IsNil)

	qosArgs = []string{qosDownName}
	_, err = cm.RunCommand("user-qos", qosArgs, options)
	c.Assert(err, IsNil)

	os.Remove(qosDownName)
	s.removeBucket(bucketName, true, c)
}

func (s *OssutilCommandSuite) TestUserQosHelpInfo(c *C) {
	// mkdir command test
	options := OptionMapType{}

	mkArgs := []string{"user-qos"}
	_, err := cm.RunCommand("help", mkArgs, options)
	c.Assert(err, IsNil)

	mkArgs = []string{}
	_, err = cm.RunCommand("help", mkArgs, options)
	c.Assert(err, IsNil)
}


text:
Chemical Science
Exceptionally long-lived light-emitting electrochemical cells: multiple intra-cation π-stacking interactions in [Ir(C^N)2(N^N)][PF6] emitters
Andreas M. Bünzli,a Edwin C. Constable,a Catherine E. Housecroft,*a Alessandro Prescimone,a Jennifer A. Zampese,a Giulia Longo,b Lidón Gil-Escrig,b Antonio Pertegás,b Enrique Ortíb and Henk J. Bolink*bc
a Department of Chemistry, University of Basel, Spitalstrasse 51, CH4056 Basel, Switzerland
E-mail: edwin.constable@unibas.ch, catherine.housecroft@unibas.ch
b Instituto de Ciencia Molecular, Universidad de Valencia, Catedrático José Beltrán 2, Paterna, Spain
E-mail: henk.bolink@uv.es
c Fundació General de la Universitat de Valencia (FGUV), PO Box 22085, Spain
A series of cyclometalated iridium(III) complexes [Ir(C^N)2(N^N)][PF6] (N^N = 2,2′-bipyridine (1), 6-phenyl-2,2′-bipyridine (2), 4,4′-di-tert-butyl-2,2′-bipyridine (3), 4,4′-di-tert-butyl-6-phenyl-2,2′-bipyridine (4); HC^N = 2-(3-phenyl)phenylpyridine (HPhppy) or 2-(3,5-diphenyl)phenylpyridine (HPh2ppy)) are reported. They have been synthesized using solvento precursors so as to avoid the use of chlorido-dimer intermediates, chloride ion contaminant being detrimental to the performance of [Ir(C^N)2(N^N)][PF6] emitters in light-electrochemical cell (LEC) devices. Single crystal structure determinations and variable temperature solution 1H NMR spectroscopic data confirm that the pendant phenyl domains engage in multiple face-to-face π-interactions within the coordination sphere of the iridium(III) centre. The series of [Ir(Phppy)2(N^N)]+ and [Ir(Ph2ppy)2(N^N)]+ complexes investigated include those with and without intra-cation face-to-face π-stacking. All the complexes display excellent luminescent properties, in particular when employed in thin solid films. The most important observation is that all the LECs using the [Ir(Phppy)2(N^N)]+ and [Ir(Ph2ppy)2(N^N)]+ emitters (i.e. with and without intra-cation π-stacking interactions) exhibit very stable luminance outputs over time, even when driven at elevated current densities. The most stable LEC had an extrapolated lifetime of more than 2500 hours under accelerated testing conditions.
This article is Open Access
Crystal structure data CIF (145K)
The article was received on 19 Dec 2014, accepted on 24 Feb 2015 and first published on 06 Mar 2015
Article type: Edge Article
DOI: 10.1039/C4SC03942D
Download Citation: Chem. Sci., 2015,6, 2843-2852
All publication charges for this article have been paid for by the Royal Society of Chemistry
A. M. Bünzli, E. C. Constable, C. E. Housecroft, A. Prescimone, J. A. Zampese, G. Longo, L. Gil-Escrig, A. Pertegás, E. Ortí and H. J. Bolink, Chem. Sci., 2015, 6, 2843
This article is licensed under a Creative Commons Attribution 3.0 Unported Licence. Material from this article can be used in other publications provided that the correct acknowledgement is given with the reproduced material.
[Original citation] - Published by The Royal Society of Chemistry (RSC) on behalf of the Centre National de la Recherche Scientifique (CNRS) and the RSC.
[Original citation] - Published by the PCCP Owner Societies.
[Original citation] - Published by The Royal Society of Chemistry (RSC) on behalf of the European Society for Photobiology, the European Photochemistry Association, and RSC.
[Original citation] - Published by The Royal Society of Chemistry.
Andreas M. Bünzli
Edwin C. Constable
Catherine E. Housecroft
Alessandro Prescimone
Jennifer A. Zampese
Giulia Longo
Lidón Gil-Escrig
Antonio Pertegás
Enrique Ortí
Henk J. Bolink


One of the great sweets of Thessaloniki, made in pastry shops, at home, and hawked from small carts on the streets all around the Kapani market.
1. With an electric mixer in a large bowl, whip the cup of butter until soft. Add the confectioners' sugar a little at a time and whip until fluffy. Add the egg yolks, one at a time, beating after each addition. Add the vanilla and continue whipping for about 5 minutes.
3. Preheat the oven to 375°F. Butter a 12- by 18-inch glass baking pan. In a medium metal bowl, place the egg whites, salt, and lemon juice and whip with an electric mixer until stiff peaks form. Fold the meringue into the semolina mixture, working fast to combine. Pour the batter into the prepared pan and bake until set, 35 to 40 minutes.
4. About 15 minutes before the samali is finished baking, prepare the syrup: Combine the granulated sugar and water in a medium saucepan and bring to a boil. As soon as the sugar dissolves, add the spices, zest, and brandy. Reduce the heat to medium-low and simmer until the syrup is viscous, about 10 minutes.
5. When the samali is baked, pull it out of the oven and reduce the oven temperature to 300°F. Score it into 3-inch square pieces with a sharp paring knife. Pour the warm syrup over the hot samali and place back in the oven. Bake until the syrup is absorbed, another 5 to 7 minutes, and remove from the oven. Let cool and serve.
This is a fantastic recipe, much better than many other Greek recipes out there-and I say this as a Greek! Have made this many times and everyone, family and friends alike, love it.
This recipe works well with other ground nuts besides almonds. Also I've found, interstingly enough, that this reipe can easily be modified into cookies by ommiting the eggwhites and syrup. The balance of citrus and vanilla blend wonderfully into the nutty cookie!
This was a wonderful cake. I would like to know if this is really the recipe that would be used by a Greek grandmother, because I made it for a Greek-themed dinner party, but even if it's not, it had a very complimentary set of flavors to the rest of the meal and all the guests loved it. It has an excellent texture and sweetness. I would like to try it with rose-water, but also might try it with an ouzo syrup instead of brandy. The only downside is that it's not especially attractive being served out of the pan in squares... I like cake baked in rounds and sliced in wedges so might try that next time. I used a 9x13 pan (instead of 12x18) and it was still done in 36 minutes.
This smelled absolutely heavenly. I made it just as written. Judging from the sweets at our local Greek bakery, the syrup should still be quite thin so it can soak through. I don't like rose water, so it was very nice to be able to make these without, even if it is not traditional.
I love this version of the traditional Middle Eastern version of semolina cake (sometimes called Basboussa). I added rosewater and orange blossem water to the sugar syrup in lieu of lemon/cinnamon. When I make it again, I may make 1.5 recipes to yield a slightly higher cake. As is, in this sized pan, it was under an inch in height. Otherwise excellent.
I made this wonderful cake. It was easy, but best of all it was delicious. I am making it again tomorrow.
You'll need to start the sugar syrup as soon as you put the cake in the oven since it took about 20 minutes (not 10) at a fairly high temperature (not a simmer) for my syrup to become "viscous."
I loved this dish! Being from Greece myself, I knew what I was looking for, and it was fantastic! It was almost as good as my mother's but much more simple. I highly recomend this dessert to all who are looking for an authentic greek dessert!


text:
Q: Why doesn't sever send SYN/ACK after receive SYN from client? I found the request from client timeout sometimes. And I use tcpdump to catch some special tcp package as follows. It seems no package was lost. Why the server doesn't reply to client after receiving the first SYN?
No.    Time     Src  Dst  Protocol Length   Info
 1   0.000000    C    S     TCP      66     46767→10660 [SYN] Seq=0 Win=14600 Len=0 MSS=1460 SACK_PERM=1 WS=128
 2   0.996822    C    S     TCP      66     [TCP Retransmission] 46767→10660 [SYN] Seq=0 Win=14600 Len=0 MSS=1460 SACK_PERM=1 WS=128
 3   0.996836    S    C     TCP      66     10660→46767 [SYN, ACK] Seq=0 Ack=1 Win=14600 Len=0 MSS=1460 SACK_PERM=1 WS=128
 4   0.997117    C    S     TCP      54     46767→10660 [ACK] Seq=1 Ack=1 Win=14720 Len=0
 5   0.997127    C    S     TCP      500    46767→10660 [PSH, ACK] Seq=1 Ack=1 Win=14720 Len=446
 6   0.997130    S    C     TCP      54     10660→46767 [ACK] Seq=1 Ack=447 Win=15744 Len=0
 7   1.017421    S    C     TCP      230    10660→46767 [PSH, ACK] Seq=1 Ack=447 Win=15744 Len=176
 8   1.017681    C    S     TCP      54     46767→10660 [ACK] Seq=447 Ack=177 Win=15744 Len=0
 9   1.017686    C    S     TCP      54     46767→10660 [FIN, ACK] Seq=447 Ack=177 Win=15744 Len=0
10   1.020762    S    C     TCP      54     10660→46767 [FIN, ACK] Seq=177 Ack=448 Win=15744 Len=0
11   1.021486    C    S     TCP      54     46767→10660 [ACK] Seq=448 Ack=178 Win=15744 Len=0

Client package doesn't cary any tcp timestamp, so server needn't to set tcp_timestamp to 0.

This is captured on server.

A: A SYN will not get a SYN/ACK reply if the server's connection backlog is full.

redpajama_set_name: RedPajamaStackExchange


I have a 1990 maxum 5.0 i need to replace the motor. This is my first time replacing a motor on a boat does anyone have tips that can help me out.
i was going to pull my engie 7.4 myself, but decided not to.
there are nice youtube videos you can watch other people do it.
building a A-frame, removing the engine hatch, rear sweep radar arch in my case was in the way, mainfolds had to be removed to get it up.
any marine can pull the engine and reinstall for $850 bucks, and get it done in 2 hours.
More importantly, I pulled my engine, to replace the engine coupler, which is rubber and aluminum on the flywheel for the drive shaft, and ended up rebuilding the transom seals since its a job that can only be done with the engine out.
since your retro fitting, its prudent to install new seal to set you up for the next 10 years.
You can save a good amount of money by pulling the engine yourself. It is not hard, I've done 3.
4) Pull the manifolds and risers, you can leave the Y and clapper in place.
5) Pull the Fuel line off of the carb/motor side. I find a bolt that will tightly fit into the fuel line. screw it in and then zip-tie it.
6) Remove the nuts on the engine mounts. I like to leave teh bolts on the mounts, not the engine. The new engine should slip right in. Take a good look at the bolts, if they have any rust, now is the time to replace them.
Once it is out, I would pressure wash the engine compartment. Then wipe the entire thing down so it's clean, clean, clean. Consider painting the engine compartment. I used 2 part polyester resin paint. Work in small batches as it uses a hardener that will thicken as you go. make sure to measure properly. Too little and the paint will never harden, too much and you will have a very short amount of time to get the batch applied before it hardens.
Someone please let me know if I missed a step, frequently I have to be sitting in the bilge looking around to be reminded of a step.
As far as pulling it goes, any boat yard/marina will have a means to pull and engine and usually have a flat rate. I've even done the whole job, short of actual removal, then arranged to have the engine pulled. you don't want to be paying the yard by the hour while you're unbolting things.
None the less. she's running lake a CHAMP this spring!!
Retired MARINE... Improvise , adapt and overcome!


A new partnership between the USGBC and UL sheds light on product transparency.
It has been 15 years since the U.S. Green Building Council (USGBC) launched the Leadership in Energy and Environmental Design (LEED) green building rating system. That first year, 51 projects participated. Today, LEED is the most widely recognized green building program in the world, guiding the design, construction, operations, and maintenance of over 68,000 projects globally.
With the emergence of LEED, USGBC's mission of market transformation took the first steps toward realization. Credits for single-attribute building products featuring recycled content, certified wood, or regional sourcing prompted manufacturers to not just divulge such characteristics about their products, but also to make the information easy to find. Today, manufacturers of building products routinely offer lists of green attributes through convenient resources.
As the market for green building products continues to evolve and improve, it is clear that LEED must continue to lead if it is to remain relevant. Enter the rating system's latest update—version 4—where credits have been revised to ensure that they truly add quality to the utility of a project. In the case of building products, this means going beyond crediting single-attributes and toward an integrative life-cycle-based framework by encouraging manufacturers to disclose information about the materials that comprise their products—enabling practitioners to make better decisions.
For well over a decade, Interface—a global manufacture of commercial carpet tile—has offered customers products with single-attribute "green" characteristics, like recycled content. Yet, Mikhail Davis, director of restorative enterprise at Interface, is quick to point out that it was not until the company adopted a life-cycle approach to sustainability that the true impacts of Interface's products could be understood. In fact, Interface learned that increasing the recycled content could actually increase the environmental footprint of their products if they did it wrong. "Life-cycle assessment gave us a way to model changes to our products in advance to see if they would move the needle in the right direction, rather than creating unintended new impacts, perhaps at a less visible stage of the product life-cycle." Interface's early efforts to put recycled content in their products focused on the backing, the component they make themselves. "But a life-cycle assessment showed us that until we got our nylon suppliers on board, we were not going to be able to seriously shrink our impacts," explains Davis. In 2011, years of supplier engagement bore fruit in the form of the company's first 100 percent recycled content nylon yarn products, which have a dramatically lower environmental footprint.
The transformative potential of disclosing the life-cycle environmental impacts of building products is not lost on USGBC. One of the ways LEED v4 encourages life-cycle-based decision-making is by crediting projects for using products with fully disclosed ingredients. The most popular reporting tool through which a product's life-cycle impacts are conveyed is called an Environmental Product Declaration (or EPD). These are comprehensive, internationally harmonized documents through which manufacturers can provide transparency about their products' ingredients. Think of EPDs like the nutrition facts label on the side of a box of cereal—only for building products. In the case of LEED v4, eligible EPDs must be third-party reviewed and certified.
EPDs are not new. They have been around in Europe since the 1990s. However, only since USGBC took a bold stand on product transparency with LEED v4 has the EPD marketplace blossomed domestically—a testament to LEED's ability to shift the market. "EPDs have experienced an explosive level of growth. Five years ago, one would be lucky to find 10 or so EPDs, whereas now there are close to 300 to 400 EPDs, when considering all the North American programs," states Paul M. Firth, product manager at UL Environment, a division of Underwriters Laboratories (UL).
Manufacturers will be able to develop and certify EPDs with LEED-specific criteria in mind, thus providing their products a differentiator in the marketplace.
LEED v4 uses EPDs as a tool to promote product transparency, but it also encourages project teams to use the information to make better choices about building products and, consequently, optimize the life-cycle environmental impacts of a project. This is easier said than done in a burgeoning EPD marketplace. The reality is that the market has not quite matured to the point that EPD comparison and product optimization is widely practical. There are a few particular obstacles to greater market uptake. Confusion abounds regarding the usefulness of EPDs; they frequently offer incomparable information; and program operators (the entities that oversee EPD development) are not regulated by consistent standards.
In order to overcome these obstacles and accelerate market transformation, USGBC and UL Environment entered into an exclusive partnership just over a year ago. The partnership is focusing on building materials and product transparency.
The leading program operator in North America, UL Environment is uniquely positioned to facilitate USGBC's work through LEED. "We decided to partner with UL because they have demonstrated they can produce and deliver high quality EPDs," says Sara Cederberg, technical director at USGBC. With over 120 years of experience with manufacturers in industries ranging from electronics and consumer products, to the automotive industry, UL understands the challenges that companies face.
Prior to LEED v4, the organic nature of market activity related to building product life-cycle assessment allowed manufacturers to engage substantively in the creation of a broad range of tools with varying degrees of oversight. Transformation and innovation was decentralized. The trade-off was significant confusion and a slow rate of market maturity.
Acknowledging the confusion, one of the first things to be addressed by the USGBC/UL Environment partnership will be EPD delivery. "We're starting with EPDs because that's an area where the consistency and credibility are currently a bit problematic," explains Firth.
Through a joint EPD program, USGBC and UL are endeavoring to bring a clarity commensurate with the UL transparency summary to the EPD marketplace at large. The belief is if project teams are presented with a succinct and coherent EPD format, then a multi-attribute framework for building product choices may be leveraged more successfully.
EPDs simply report the results of an LCA. To the extent that LCAs for similar products may be scoped differently, one can look to the "rules" defining their respective assessments—termed product category rules (PCRs). "In order to produce high quality EPDs, we must first provide robust product category rules," Cederberg explains. There are a handful of PCR guidance documents available internationally, but they are open to a wide range of interpretation.
To establish greater consistency, USGBC and UL Environment are exploring a common PCR development framework that addresses the aspects of inherent variability in PCRs to date. "One of the reasons the USGBC/UL partnership was launched is to try to help narrow in on those aspects of LCAs, PCRs, and EPDs that need to be refined to best provide information necessary to make an informed comparison," states Firth.
All Type III (third-party verified) EPDs require an independent agency, called a program operator, to ensure that EPDs are developed in accordance with international standards.
According to USGBC's Cederberg, another important piece of developing a quality EPD is ensuring the program operator is experienced and credible. "Just like we look for credentials for commissioning agents or require labs to be accredited for testing low emitting materials, so too would we want to be sure that there is a level set for program operators." The USGBC/UL Environment partnership is in the early stages of developing such criteria.
The intended outcomes of the USGBC/UL Environment partnership focus on the coherence, consistency, and technical rigor of the EPD development process. This in turn will accelerate the rate of market transformation and improve the overall quality of transparency in the building product market sector.
The promise of the partnership, however, goes far beyond LEED. Armed with consistent declarations and comparable data, a more sophisticated marketplace may be able to aggregate building product data to achieve environmental building declarations. Practitioners may eventually be able to optimize impact categories through building information modeling (BIM). It is even conceivable that building occupants will someday be able to observe real-time impacts on a dashboard, such as the LEED Dynamic Plaque.
The USGBC/UL Environment partnership sends a clear message to the marketplace—the stakes for product transparency have just been raised.


ROBOCOPY.exe - "Robust File Copy" is a Windows command line file & directory replication utility published by Microsoft.
"Xcopy will not be better than robocopy at this"
from question "Does Robocopy clones C drive (Operating System drive) completely"
"Also robocopy is better than xcopy"
from question "Windows script for copying modified files"
"If your batch file only needs to run on windows vista or later you can use robocopy instead which is an even more powerful tool than xcopy and is now built into the operating system"
from question "Batch/bat to copy folder and content at once"
"The robocopy command provides a more intelligent exclusion feature switches xd and xf than xcopy does which you could use for your task"
from question "Ignore patterns in batch files"
"Use robocopy it s much more powerful than xcopy"
from question "How to copy all files with given suffix to similar directory tree preserving paths?"
"You might want look at robocopy as it has many more options than xcopy"
from question "Msbuild PostBuildEvents copy if newer"
"I have solved it in the past very successfully using robocopy it s much more robust than xcopy"
from question "More Efficient Way To Copy Data To Many Servers"
"That would theoretically cut the time in half but it seems that robocopy is much faster than xcopy at least for this use so it took way less time"
from question "Using robocopy instead of xcopy in batch file loop"


text:
Claire Smitham
Email Address clairesmitham@gmail.com
Style of Dance – Pom
Snack – RX Bars (Chocolate Sea Salt)
Starbucks Order – Blonde Roast with Steamed Soy Milk
Motivational Quote – "Trust in the LORD, and do good; dwell in the land and befriend faithfulness." –Psalm 37:3
Claire grew up in Dallas dancing at Highland Park Dance Company. She danced at the studio and represented HPDC on the Competition Team. At that time, Claire also served as Assistant Director to the Competition Teams and taught dance classes, private lessons, and summer camps. She graduated from Highland Park High School in 2011.
Claire then went on to attend Texas A&M University where she received her Bachelor's degree in Business with a focus in Accounting from the Mays Business School. While in college, she was a member of Chi Omega, where she danced on the sorority's dance team, Chi Omega Productions. Claire graduated from Texas A&M in May of 2015.
Claire currently lives in Dallas and has managed finances and administration at Highland Park Dance Company for three years. She is passionate about serving girls in the Park Cities and sharing with them about the character and teachings of Jesus.


As a manufacturer of automobile parts, Diversified Fiberglass Fabricators' colors have to match vehicle paint jobs perfectly. As Bill Rhew's business took off, he needed a gel coat provider that could keep up with his growing needs, while providing the kind of color consistency that his customers demand.
Working together, Rhew and HK Research have developed a variety of different colored gel coats specially formulated for Diversified Fiberglass Fabricators. HK representatives visit the plant regularly and are available on the spot if there are any problems.
For more than 20 years, HK Research's special formulation, consistency and superior customer service has helped Diversified Fiberglass Fabricators' satisfy their demanding customers.


text:
The 10 best stand-up comedians, by Geddy Lee
By Matt Stocks 2015-12-18T12:00:00.351Z
The best of everything, every day on TeamRock.com
Rush bassist and vocalist Geddy Lee has a long-standing affinity with comedy.
In 1981, he featured on the hit song Take Off, which appeared on the Canadian comedy album The Great White North by Rick Moranis and Dave Thomas, as a vehicle for their TV characters Bob and Doug McKenzie.
Along with Rush bandmate Alex Lifeson, he also recorded a rock version of the Canadian national anthem O Canada for the soundtrack to South Park: Bigger, Longer, and Uncut. In 2006, he joined Lifeson's side-project, the Big Dirty Band, to record songs for Trailer Park Boys: The Movie.
On top of all that, he regularly attends stand-up comedy shows in both the UK and North America, so we asked him to pick who he regards as the best 10 comedians.
Geddy: "Aside from just being hilarious and topical, his television show [Louie] in America has become really important. It's post-modern comedy, in the same way as Andy Kaufman and Jerry Seinfeld before him, where they did things on television that you weren't quite sure whether they were kidding or not. Louis C.K. takes that to another level, and his TV show is compelling and hilarious and dark – it's really interesting."
"I mentioned him already, and you can't think of American comedy without thinking of Jerry Seinfeld. I've seen him do stand-up and he's funny in a very different way to someone like Louis C.K, but he's a guy that can take every day things and turn them on its ear. That's always a winning comedic formula for me."
"To me, Eddie Izzard always sounds like he just smoked a big fat doobie, and he doesn't really know where he's going, but he continually surprises with how intelligent his point of view on comedy is. The worldliness of his comedy is fantastic. Some artists are very improvisational and some of them stick to the script, and Eddie Izzard is a guy who goes to the improvisational side. He obviously has a script to begin with, but he lets himself go out there."
JONATHAN WINTERS
"Jonathan Winters is sadly no longer with us, but he was like Robin Williams before there was Robin Williams. He was such a creative comedian that did wacky characterisations and imitations, and sort of little sketches within his stand-up routine. He always cracked me up, and I think he was very influential."
Rush: "We Were Just Happy That We Were Still Around After 2112"
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Family: Geddy Lee
Rush's Career In 10 Albums: By Geddy Lee
"I like Amy Schumer a lot, and her TV show [Inside Amy Schumer] is a breakthrough, especially for a female stand-up. She uses her sex in a very interesting and positive and hilarious way. I recently saw her live at the Apollo [iconic New York theatre], and I thought it was a great bit of stand-up. She's a real pioneer for women in comedy, and I liked her movie Trainwreck as well."
"Chris Rock actually directed the Amy Schumer: Live from the Apollo movie, which I thought was really interesting. He brought a hip, topical, different kind of attitude on stage. He exposes a lot of hypocrisy about his race, and the way his race is viewed. And he just does hilarious, high-energy stand-up comedy. He's so right on!"
"Steven Wright is an American comedian. He does a lot of deadpan, unemotional word play. He's a very different kind of comic, but I find him absolutely hilarious and I love his whole shtick."
"I really like Stewart Lee. I don't really have to explain him to British fans. I come to London a lot with my wife and we've been to see him a few times here – we usually sneak into the Leicester Square theatre whenever he's playing. The first time I saw him I didn't know a lot of the references, because he makes fun of a lot of local British TV personalities and other comedians. But he's so dry and clever, and I like the way he tries out a lot of material. I saw his recent show where I guess he was prepping for his next TV special, so he was trying out a lot of new material, and it was brilliant. I love the way he badgers the audience too, and the way he ties all these different things together. I know he likes to stay in Britain, but I think he could internationalise his material and do really well in the States."
"I think you have to mention Richard Pryor. He's sadly no longer with us, but he was a breakthrough comedian. I remember listening to his routines on record, and he was the first guy to really use race in a different way, which at that time was pretty daring for a comedian. He opened a lot of doors for people like Chris Rock. There was a real pain in his story telling."
"The last person I'd pick is one of the great, overlooked stand-up comedians, and that's Woody Allen. Listen to his early stand-up records – they're so smart and absurd, and funny. He was from that whole absurdist school of comedy, and he had such great comic timing. I highly recommend those early records of him playing in clubs. They're so funny."
Rush Quiz: How well do you know 2112?
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Watch Ozzy Osbourne reflect on his life in trailer for The Nine Lives Of Ozzy


text:
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Full catalog of Comedy movies
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Betty Boop, M.D.
1932, USA
Mo Amer: The Vagabond
Blindspotting
Jim Jefferies: This Is Me Now
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The Pact
Brigsby Bear
Cunk on Christmas
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A Date for Mad Mary
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Hannibal Buress Live from Chicago
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Beauty Is Embarrassing
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This is for 15 one inch flat back or pin back buttons made on a professional button machine. You will receive the 15 as shown in the picture as flat backs, if you want them with a pin back be sure to leave a message when checking out that you would like pins, if no message left than I will send you the flat backs.
They are great to wear pinning on anything as shirt, coat, back pack, even great for party favors or as a flat back great for flower centers, hair bow centers, deco art, cell phone décor, badge id reel centers, glue on flip flop straps us them for anything. Great embellishments.
They were cute but about half were blurry and uncentered. Worst part there's no response from seller.
Awesome! Thank you for such great service!


Behind the scenes of Australian singer Charmaine's "Go Crazy!" video shoot. The clip will be screened at the International Music Video Show on Friday, July 24.
In some ways, the music video seems like an inextricably '90s art form. But although MTV's heyday has come and gone, the format is as vital as ever: The release of a big-budget video from a pop megastar like Taylor Swift is a genuine cultural event—something to be immediately (and mercilessly) dissected by the Twitterati—while buzzy underground acts increasingly look to lock down visual premieres on tastemaking sites during the leadup to a big album release.
As the tablet has replaced the television set, the music video has also become more democratized. Host sites like YouTube and Vimeo offer user-friendly platforms where unknown artists and big-timers alike can easily share their visuals. In fact, it is simpler than ever to make a music video, thanks to the increased affordability (and usability) of the necessary equipment—cameras, editing software and so on. Likewise, thanks to social media, disseminating the finished clip is a piece of cake.
Yet, while film and music festivals continue to proliferate, few in either category give the music video quite a fair shake. Thankfully, one such event happens right in our backyard. This weekend, the Sprockets Music Video Festival returns for its 10th installment, featuring one day and two nights of video screenings, award presentations, industry panels and more.
Sprockets, which began in 2004 as a spiritual successor to the Kudzu Film Festival, the Athens indie-film happening, has grown from a niche one-day affair to a prestigious weekend-long festival that attracts attention from around the globe.
"We went from barely enough entries to have a show to [getting] a significant amount from really all over the world," says Danielle Robarge Rusk, executive director of Film Athens, Sprockets' parent nonprofit.
In 2013, realizing the volume of worthy submissions was too high to contain in one show, organizers added a second event specifically devoted to showcasing work created in Athens and around the state of Georgia.
Awards for the best of the bunch, as judged by a five-person panel—consisting this year of filmmakers Craig Zobel (Compliance) and Dan Ewen (the upcoming Son of Ernest), as well as Internet Music Video Database co-founder Doug Klinger, Henry Owings of Chunklet and the Athens Banner-Herald's Maggie Louie—will be handed out at the conclusion of Saturday's show.
Both shows take place at the 40 Watt Club, Sprockets' home since the beginning. The venue is a perfect fit for the festival's loose, organic vibe, says Rusk.
This year, Sprockets introduces a third screening 3 p.m. Saturday at Flicker, featuring music-inspired shorts not selected for the main competition, including the subject of this week's Flagpole cover: "Anahata" is an expressive, experimental piece by Australian director Matthew Smolen, set to a track from UK band Stems. In addition, the daytime event will feature an industry panel featuring creators from budding local companies like Dominar Films and DT Productions.
As evidenced by these groups' presence on the scene, Athens' film community has grown steadily since Sprockets' inception over a decade ago. Jordan St. Martin-Reyes, one-half of the directing team behind Dominar, which has four videos in competition this year, including "Ride A'Rolla," the deliriously great Monsoon clip that won Best Music Video at this year's Flagpole Athens Music Awards, says local film is on the rise.
Rusk says she has noticed an increase in quality among local submissions. "The music videos that are coming out of Athens are as good or better than anything in the world," she says.
Most importantly, Sprockets provides a platform for both up-and-coming filmmakers and the musicians who enjoy the fruits of their labor. It's a symbiotic relationship, Rusk explains; filmmakers build portfolios and gain exposure, while bands use videos to promote their own work.
What constitutes "amazing" has certainly changed since the days of "120 Minutes," and the material that will be screened at Sprockets represents a new era for the form, where, in a post-MTV world, free from FCC restrictions and corporate pressure to keep things PG-13, it has returned to its anarchic roots.
Win or lose this weekend, the members of Dominar's team say they appreciate the effort Rusk and Film Athens have made to shed light on an under-recognized segment of the creative economy.


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Good morning tom. I hope your summer is winding down nicely. I just wanted to see if we are in the rotation for lawn mowing today or tomorrow. Our back yard is getting a bit unruly and we're looking forward to playing in it over the long weekend. Thank you again for giving us (me) this yard. I remember saying all I wanted was a yard to play with the kids in and you delivered!
The front yard gives the property great curb appeal. The yard frames the distinctive architecture of your home.
The rear yard is not only gorgeous it is a child's delight with rolling green grass, lovely flower beds and that absolutely dreamy bamboo thicke. Not hard to imagine it becoming so many different things to a young creative mind. And what a relaxing place for a barbecue ot to just look at from your deck.
Thanks and yes, we do so appreciate your business.


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A popular cultural monument, Notre Bill is also a fine example of classic Gothic horror politics, propped up entirely by its famous lying buttresses.
The French President has sought to place the national tragedy of Notre Dame's near destruction in the context of the great sweep of French history, a move intended to reassure citizens of his long-term vision for the nation.
Authorities are assessing the stability of Notre Dame Cathedral after a fire ripped through the iconic monument in central Paris and seriously damaged large parts of the structure.
Notre Dame was a pinnacle of the expression of what it means to be human. We built this. It is us at our best.
Victor Hugo's Hunchback of Notre Dame was written to draw attention to the sorry state of the cathedral.
Notre Dame - the literal and figurative heart of Paris, the point from which all distances in the city are measured and the seemingly eternal backdrop to life in the French capital - is essentially no more.
French firefighters said they had saved the shell of the Notre-Dame Cathedral from collapse on Monday after fire gutted and destroyed the roof of the landmark.


text:
Dr Finlay's Casebook
3.7 (135 ratings by Goodreads)
By (author) A. J. Cronin
Paperback US$9.00
Available. Dispatched from Australia in 4 business days
Dr Finlay's Casebook brings together Adventures of a Black Bag and Dr Finlay of Tannochbrae, A.J. Cronin's two hugely popular collections featuring his most famous creation, Dr Finlay.
Set in and around the fictional Scottish town of Levenford and village of Tannochbrae during the inter-war years, the stories found here are heartwarming, funny and touching, full of fascinating characters and unforgettable encounters.
Made famous by the much-loved adaptations for radio and television, the classic tales of Dr Finlay, his senior colleague Dr Cameron and their unruffled housekeeper Janet, remain as fresh and entertaining now as they were upon first publication.
Dimensions 134 x 146mm | 224g
Publication date 28 Aug 2017
Publisher Bolinda Publishing
Imprint Bolinda Audio Books
Publication City/Country Tullamarine, Australia
About A. J. Cronin
Archibald Joseph Cronin, MB, ChB, MD, DPH, MRCP was a Scottish novelist and physician. His best-known novel was The Citadel, about a doctor in a Welsh mining village who quickly moves up the career ladder in London. James Cameron Stewart is first and foremost an actor, with theatre credits ranging widely from Frankn-Furter in The Rocky Horror Show to Thenadier in Les Miserables, the poet Philip Larkin in Larkin with Women and even his own grandfather in his acclaimed one-man show My Grandfather's Great War. He is frequently to be heard on BBC Radio 4, is a regular presenter on The Economist podcast and has a sizable oeuvre of audiobooks.


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A Beginner's Guide to The 5 Steps of Funding a SaaS Startup
Published by Nick Brown at 26/11/2019
Digital Project Management
As a business owner, you have to wear a lot of hats. You need to be across every significant aspect of business operations. The earlier posts in our dedicated SaaS series have touched on some of the main ones. From promoting your site to getting leads on social media, we hope we've given you a few helpful insights.
One area we haven't yet covered, though, is that of financing. To scale your company and turn it into a success, you need funding at every step of the way. Getting that necessary financing is far from straightforward. You need to know where you can turn and when to get the cash injections that will take your business forward.
That's where this beginner's guide comes in. It will talk you through each step of what may at first seem to be a tortuously complex startup funding process. Read on, and you'll learn about the following five principal startup funding stages:
Pre-seed funding
Series A-E funding
Mezzanine financing & bridge loans
Initial public offering (IPO)
We're going to explain what each of the startup funding stages entails. You'll learn the characteristics of businesses as they enter each stage. You'll also find out where best to seek finance at each different step of the process. If you need to learn all about funding your firm through its growth and development, this guide is for you.
Some guides to startup funding neglect to mention pre-seed funding. This first startup funding stage gets overlooked as it occurs so early in a business's lifecycle. In many ways, however, that also makes it one of the most crucial parts of the entire financing process.
Pre-seed funding is the finance that startups use to get off the ground. It's the money that allows a founder of a business to get the ball rolling. In the case of a SaaS business, that may mean developing a proof of concept of the ultimate product. If you can get enough early finance, you may be able to create a beta version of your software.
Startups at this funding stage are very much in their infancies. As such, venture capitalists or other equity finance sources aren't open to them. There are a few different options for getting pre-seed funding, however.
Most startup founders have to rely on their own resources for pre-seed funding. Dipping into savings, re-mortgaging homes, and taking on second jobs are all common routes for entrepreneurs. This reliance on your own money to fund a business is often called bootstrapping. As per the old saying of 'pulling yourself up by your bootstraps'.
(https://www.fundable.com/learn/resources/guides/startup/funding-your-startup)
There are a few other options available for raising cash at this earliest funding stages. Lots of business founders look to friends and family for their initial investment.
Your loved ones won't need as much proof of the viability of your young firm to commit their investment. They will also likely agree to more favourable repayment terms. You should always take care, though, when seeking financing from relatives or friends. Problems down the road can lead to upset and disagreement.
Certain independent investors may also consider providing pre-seed funding. Some wealthy individuals and specialist funds actively invest in very young startups. Those financers get called 'Angel Investors', as their cash is such a godsend to startups.
Continuing the botanical theme, the second of the five major startup funding stages is the seed funding stage. This investment is what truly gets a startup growing. Seed funding is vital to any business's success, whatever the field.
According to Small Biz Trends, 29% of startups fail because they run out of cash. Most of those failures occur in the early months and years of a firm's operation. That means that the businesses falter as they don't get their seed funding right.
(https://www.svb.com/startup-outlook-report/uk)
Finance raised at this stage of a firm's development starts to turn the ideas behind a startup into reality. It's this cash that gets used to fund a product launch or to seek market research. In some cases, too, seed funding can finance the hiring of staff to move a firm forward.
The seed funding stage is the first one in which equity financing is a realistic option for most firms.
A Quick Refresher; Equity Financing
Equity financing is an investment in a business, provided in exchange for a stake in the company. Investors receive shares in the company in return for their investment. Those shares increase and decrease in value with the overall valuation of the business.
If you do go down the equity finance route for seed funding, small venture capital funds are your best bet. There are lots of specialist seed funds, like Passion Capital and Seed Camp. They work with smaller businesses to help them grow and develop.
Angel investors are also a rich source for seed funding. It's often easier for them to assess the viability of a business once it's reached this stage of development. More 'angels', then, will take part in the seed than the pre-seed funding stage.
It's still possible, too, for business owners or their friends and family to account for a firm's seed funding. Often, though, the extent of financing needed at this stage is beyond the budget of all but pro investors.
(https://venturebeat.com/2018/08/22/the-european-seed-landscape-2018-so-far/)
The seed funding stage is the final step of the financing process for many small businesses. Some owners fail to raise enough cash and see their businesses fold. Others raise enough money at this stage to forgo any further search for financing. That may be because their business won't ever grow large enough to need more investment. It could also be because the organic growth of the company will supply all the required cash.
The principal, middle portion of the startup funding process comprises five different 'series'. Those series are all given a letter designation from A-E. As a business moves from one round to the next, it looks to raise more money and increases its valuation.
Startups that do go through the seed funding step will begin to see some commercial traction. Their services will be picking up users, and monthly revenue will be steadily growing. By tracking key performance indicators (KPIs), you can spot when you may be ready for Series A funding. Such KPIs can include customer numbers or turnover.
Series A is where things get serious when it comes to investors. It's where the significant venture capital (VC) funds may become interested in your business. It's not easy, though, for any startup to get those funds to part with their cash.
(https://equitycrest.wordpress.com/tag/funding/)
When you're seeking finance at this stage, you need a whole, accurate, and impressive business plan. A great idea and a few early adopters won't cut it with serious VC firms. Even with a great business plan and early signs of success, most funds will still turn you down.
Many experts cite the 30-10-2 rule for Series A. That rule states that for every 30 funds that you think may invest, only ten will show actual interest. Of those ten, two may actually commit funds. During Series A, therefore, you must approach investors in bulk to try to raise the finance you need.
Startups that reach Series B are significant businesses. They've captured a considerable user base, and are bringing in high monthly revenues. What their Series B funding is for is to take the firm to a new level. This finance is what they need to make their business work at scale.
In most ways, Series B is similar to the previous funding stage. A lot of the investors involved will be the same. The most successful Series B funding rounds get more cash from the original backers and add new ones.
If Series B startups are serious businesses, those that reach Series C are veritable goliaths. They've tasted significant success and are now on a path to even higher growth. This third main funding round is where the size of investments rises profoundly.
Startups looking for Series C funding are seeking real expansion. The funding is often to help them create new products, move into new markets, or even buy up other smaller firms. In many cases, too, businesses enter the Series C stage to get cash so that they can go international.
By this point, firms are no longer risky propositions for investors. As such, private equity firms, hedge funds, and investment banks all often get involved in Series C.
Series D & E
Series C is the final investment round for many startups. That startup funding stage usually puts a firm in an excellent place to think about an IPO. A business will often only embark on a Series D round and beyond, in exceptional circumstances.
A company may, for instance, need a cash injection to fund a potentially beneficial merger. If they're not ready to go public, an extra funding round can help them get that finance. On the flip side, if a business has had a tricky spell, they may need further funding just to stay afloat.
(https://startupxplore.com/en/blog/types-startup-investing/)
Even in the above circumstances, many firms don't turn to new funding series. For finance at this stage, they look instead to different options to carry them through to an IPO.
Any startup that's moved all the way through its seed and main funding stages is tracking towards going public. By that, we mean that the business will likely soon embark on an IPO to start trading on the stock exchange. To prepare for the final push toward an IPO, firms sometimes need one last influx of finance.
Mezzanine financing is where lots of companies turn for this final cash injection. This type of funding gets its name from the eponymous 'in-between' floors. You can find mezzanines in some large buildings, and you'll see an example in the image below.
The form of financing gets its name because it's an 'in-between' form of funding. It represents a middle way between a traditional loan and typical equity funding.
Cash lent via mezzanine financing is often subject to high interest rates. Lenders also have the option to convert what's owed into equity in the company at a later date. That may only be if you default on repayment, or it may be after a specified period. The higher interest rate makes mezzanine financing riskier for a startup. It's purpose, though, is to speed the firm toward exit.
An IPO is the last stage of funding any startup goes through. Usually, an IPO is the method by which the business's founder or owner exits the stage. An IPO is when corporate shares in the company get offered to the public for the first time. The business's current owners and investors get paid based on their present stake in the firm.
IPOs can be risky for startups and their owners. There's no way to know for how much a business's shares will sell. If an IPO goes well, though, current stockholders and investors can enjoy a considerable windfall. As a public company, too, the business can raise more funds in the future via secondary offerings.
Finding Your Way Through The 5 Startup Finding Stages
Passing through the five main startup funding stages is essential for a startup. It's how business owners can steer their firms successfully from start to finish of their commercial journey. By understanding the stages, you can ID where your business sits and find the best way forward.
Having that grounding in the funding process is vital. Your business must be mature enough to deal with each funding stage fruitfully. If you were to embark on any stage too early, it could be disastrous. Armed with our simple guide, you can avert a catastrophe and take your firm from strength to strength.
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It was Environmental Defence's toxic study reporting man-made chemicals in newborns that caused the seismic internal shift.
Ecoholic guided us to make informed decisions and in 2006, we started Organic Lifestyle and have been sourcing healthier alternatives to reduce our exposure everyday toxins ever since.
Organic lifestyle products that reduce your everyday toxic exposure and create a healthier home.


The Group's sustainable development strategy continues its legacy of commitment. It mobilizes our collective energy and intelligence, shaping our organization and inspiring our focus on listening to stakeholders.
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Michelin regularly assesses its key corporate social responsibility challenges with all stakeholders using materiality analysis.
Sustainable development governance was overhauled in 2017 to better integrate it into the Group. A dynamic that affects all of Michelin's activities, at all levels.
Michelin fosters an open, constructive dialogue with stakeholders at the local, national and international levels. This process helps the Group understand changes in society's expectations and tap into criticism and suggestions that generate new ideas, stimulate innovation and open new horizons for future development.


[2RT7] suporte de teto com giro e inclinacao 19 a 56 208 1 20180717131212. Free hosting image, upload image for url forums, site and social networks, convenient image storage service and screenshots. You can upload the files png, jpg, jpeg, gif, bmp, psd formats.


text:
package com.sun.pdfview.colorspace;

import com.sun.pdfview.PDFObject;
import com.sun.pdfview.PDFPaint;
import com.sun.pdfview.PDFParseException;
import com.sun.pdfview.function.PDFFunction;

import java.awt.Color;
import java.awt.color.ColorSpace;
import java.awt.color.ICC_ColorSpace;
import java.awt.color.ICC_Profile;

import java.io.ByteArrayInputStream;
import java.io.IOException;

import java.util.Map;

/**
 * A color space that can convert a set of color components into
 * PDFPaint.
 * @author Mike Wessler
 */
public class PDFColorSpace {
    /** the name of the device-dependent gray color space */
    public static final int COLORSPACE_GRAY = 0;

    /** the name of the device-dependent RGB color space */
    public static final int COLORSPACE_RGB = 1;

    /** the name of the device-dependent CMYK color space */
    public static final int COLORSPACE_CMYK = 2;

    /** the name of the pattern color space */
    public static final int COLORSPACE_PATTERN = 3;

    /** the device-dependent color spaces */
    //    private static PDFColorSpace graySpace =
    //            new PDFColorSpace(ColorSpace.getInstance(ColorSpace.CS_GRAY));
    private static PDFColorSpace rgbSpace = new PDFColorSpace(ColorSpace.getInstance(
                ColorSpace.CS_sRGB));
    private static PDFColorSpace cmykSpace = new PDFColorSpace(new CMYKColorSpace());
    private static PDFColorSpace ycckSpace = new PDFColorSpace(new YCCKColorSpace());

    /** the pattern space */
    private static PDFColorSpace patternSpace = new PatternSpace();

    /** graySpace and the gamma correction for it. */
    private static PDFColorSpace graySpace;

    static {
        boolean useSGray = true;

        try {
            graySpace = new PDFColorSpace((!useSGray)
                    ? ColorSpace.getInstance(ColorSpace.CS_GRAY)
                    : new ICC_ColorSpace(ICC_Profile.getInstance(
                            PDFColorSpace.class.getResourceAsStream(
                                ("sGray.icc")))));
        } catch (Exception e) {
            throw new RuntimeException(e);
        }
    }

    /** the color space */
    ColorSpace cs;

    /**
     * create a PDFColorSpace based on a Java ColorSpace
     * @param cs the Java ColorSpace
     */
    public PDFColorSpace(ColorSpace cs) {
        this.cs = cs;
    }

    /**
     * Get a color space by name
     *
     * @param name the name of one of the device-dependent color spaces
     */
    public static PDFColorSpace getColorSpace(int name) {
        switch (name) {
        case COLORSPACE_GRAY:
            return graySpace;

        case COLORSPACE_RGB:
            return rgbSpace;

        case COLORSPACE_CMYK:
            return cmykSpace;

        case COLORSPACE_PATTERN:
            return patternSpace;

        default:
            throw new IllegalArgumentException("Unknown Color Space name: " +
                name);
        }
    }

    /**
     * Get a color space specified in a PDFObject
     *
     * @param csobj the PDFObject with the colorspace information
     */
    public static PDFColorSpace getColorSpace(PDFObject csobj, Map resources)
        throws IOException {
        String name;

        PDFObject colorSpaces = null;

        if (resources != null) {
            colorSpaces = (PDFObject) resources.get("ColorSpace");
        }

        if (csobj.getType() == PDFObject.NAME) {
            name = csobj.getStringValue();

            if (name.equals("DeviceGray") || name.equals("G")) {
                return getColorSpace(COLORSPACE_GRAY);
            } else if (name.equals("DeviceRGB") || name.equals("RGB")) {
                return getColorSpace(COLORSPACE_RGB);
            } else if (name.equals("DeviceCMYK") || name.equals("CMYK")) {
                return getColorSpace(COLORSPACE_CMYK);
            } else if (name.equals("Pattern")) {
                return getColorSpace(COLORSPACE_PATTERN);
            } else if (colorSpaces != null) {
                csobj = (PDFObject) colorSpaces.getDictRef(name);
            }
        }

        if (csobj == null) {
            return null;
        } else if (csobj.getCache() != null) {
            return (PDFColorSpace) csobj.getCache();
        }

        PDFColorSpace value = null;

        // csobj is [/name <<dict>>]
        PDFObject[] ary = csobj.getArray();
        name = ary[0].getStringValue();

        if (name.equals("CalGray")) {
            value = new PDFColorSpace(new CalGrayColor(ary[1]));
        } else if (name.equals("CalRGB")) {
            value = new PDFColorSpace(new CalRGBColor(ary[1]));
        } else if (name.equals("Lab")) {
            value = new PDFColorSpace(new LabColor(ary[1]));
        } else if (name.equals("ICCBased")) {
            ByteArrayInputStream bais = new ByteArrayInputStream(ary[1].getStream());
            ICC_Profile profile = ICC_Profile.getInstance(bais);
            value = new PDFColorSpace(new ICC_ColorSpace(profile));
        } else if (name.equals("Separation") || name.equals("DeviceN")) {
            PDFColorSpace alternate = getColorSpace(ary[2], resources);
            PDFFunction function = PDFFunction.getFunction(ary[3]);

            value = new AlternateColorSpace(alternate, function);
        } else if (name.equals("Indexed") || name.equals("I")) {
            /**
             * 4.5.5 [/Indexed baseColor hival lookup]
             */
            PDFColorSpace refspace = getColorSpace(ary[1], resources);

            // number of indices= ary[2], data is in ary[3];
            int count = ary[2].getIntValue();
            value = new IndexedColor(refspace, count, ary[3]);
        } else if (name.equals("Pattern")) {
            if (ary.length == 1) {
                return getColorSpace(COLORSPACE_PATTERN);
            }

            PDFColorSpace base = getColorSpace(ary[1], resources);

            return new PatternSpace(base);
        } else {
            throw new PDFParseException("Unknown color space: " + name +
                " with " + ary[1]);
        }

        csobj.setCache(value);

        return value;
    }

    /**
     * get the number of components expected in the getPaint command
     */
    public int getNumComponents() {
        return cs.getNumComponents();
    }

    /**
     * get the PDFPaint representing the color described by the
     * given color components
     * @param components the color components corresponding to the given
     * colorspace
     * @return a PDFPaint object representing the closest Color to the
     * given components.
     */
    public PDFPaint getPaint(float[] components) {
        float[] rgb = cs.toRGB(components);

        return PDFPaint.getColorPaint(new Color(rgb[0], rgb[1], rgb[2]));
    }

    /**
     * get the original Java ColorSpace.
     */
    public ColorSpace getColorSpace() {
        return cs;
    }
}