text:
Office of External Programs
About the Office of External Programs
Community School of the Arts
About the Community School of the Arts
Payments, Discounts and Refunds
Performathon Fundraiser
Recitals and Concerts
Sinfonia Concerto Competition
Student Attendance and Safety
Teacher Biographies
Parking at NIU
Art Express
Music Classes (group)
Suzuki Program
Advanced String Quartet Workshop
Junior Chamber Music Workshop
Summer in the Arts
Jazz Camp
Percussion Camp
Theatre Arts Camp
Visual Arts Camp
Camp Policies, Information and Scholarships
Other NIU Summer Camps
Choir Day
Jazz Day
String Day
Chamber Music Encounters
Jazz Combo Day
Trumpet Day
Violas Unite!
July 16-21, 2023 Grades 8-12 (grade completion)
About Visual Arts Camp
If you're excited about art, we invite you to challenge yourself in a variety of art media at our Visual Arts Camp. You'll experiment with new materials and techniques while producing portfolio-quality work.
You'll also experience:
Group art and recreation activities.
Performance art presentations.
Presentations by nationally known artists, art historians and studio artists.
You'll stay in Neptune Hall during camp. Your experience will end with an art show open to your friends and family. All campers will receive a camp t-shirt!
For more information check out camp information and policies.
Thank you to Prismacolor, the sponsor of Visual Arts Camp.
What to Bring to Art Camp
Comfortable/sturdy walking shoes or sandals
Note: Flip flops should only be used in the residence hall.
Umbrella or rain gear
Sheets and pillowcase (standard twin size)
Towels, blanket, pillow
Small amount of money for souvenirs and snacks
Old clothes for studio work
$175 key deposit: envelope with check/cash/money order with the camper's name on the outside.
You'll attend two studio classes each day. When you register, you'll indicate your choices for classes. The class content changes every year, providing new experiences for both new and returning students. There is limited space in each class, and classes with insufficient enrollment may be cancelled.
In addition to studio classes, you'll enjoy presentations by accomplished guest speakers as they share their career paths in the visual arts. You will receive your studio assignments at camp check-in.
Drawing Realism - Becki Miller
Using traditional drawing materials, campers create realistic drawings that address both composition and concept. Techniques are explored that allow artists to render images expressively, using mark making, visual texture, and subtle gradations.
Portraits in Acrylic- Tim Roloff
Students explore portraiture through observation and experimentation using acrylic paint to create works that reflect personal content.
Painting with Pastel – Ashley Martinez
Students will be introduced to the responsive and subtle surfaces created by pastel. Using artist-quality hard and soft pastels, this class will explore developing transitional layers of color to build smooth surfaces as well as expressive mark-making. Imagery options will include portraiture and still life.
Creating with Color – Samantha Haring
Students explore unexpected and inventive use of color in drawing and painting. Students learn to build visually powerful surfaces using color in a representational or non-traditional way. Using a variety of materials, works are created to reflect symbolic and personal ideas.
Figure Sculpting- April Macatangay
Students will learn accurate human proportions and how to sculpt the human form with modeling clay. This class includes experimenting with sculpting muscle structures, clothing, textures, and different postures to create figures that show depth and narrative.
Experimental Drawing Practices – John Zilewicz
Exploring a multitude of media, methods and techniques, students will use unconventional approaches to drawing in order to develop creative and imaginative approaches to art making. Skill building as well as producing works based on chance will allow students to examine the possibilities of mark-making, space, and surface.
Printmaking – TBD
Students will explore a variety of printmaking techniques and experiences. The focus of this class will be to develop a series of prints as students work in the NIU printmaking studio.
Acrylic Painting - Courtney Haugdahl
Learning traditional and expressive acrylic painting techniques, students will create dynamic and dramatic paintings that reflect technical excellence.
Experimental Drawing Studies - Bjana Lunde
Using a variety of colored pencil techniques including expressive mark making, students will use observation skills to create drawings that record visual information in new ways.
Life Drawing – Ailysh Cooper
Students will learn to draw the human figure while being introduced to college-level life drawing concepts and techniques. A variety of materials will be used while working from a live model.
Sketchbook Reimagined - John Zilewicz
Benefits of a daily sketchbook practice include quick thinking, responsive drawing, sensitivity to visual stimuli and immediacy of response. Students will focus on idea development and experimentation within a sketchbook format. Using collage, drawing, painting and mixed media processes, students will concentrate on producing imagery reflecting their own personal voice.
Sculpture – Dustan Creech
Students will experiment with the construction of 3D forms focusing on exploring a variety of materials, techniques, and personal narrative. Developing forms that convey meaning, artists will create final works that consider design concepts as well as use materials in inventive ways.
Early bird registration fee: $700 (postmarked June 1 or earlier)
Registration fee: $750
Registration Deadline: June 28, 2023
Art supply fee: $85 (mandatory)
Online Registration!
Returning camper and NIU family discount: $25 (for campers who have previously attended Visual Arts Camp and the children and grandchildren of NIU students, staff and faculty members)
Camp fills quickly, so register early! You can register online or by mail. You'll pay a $100 deposit when you register (unless applying for a summer camp scholarship). The remaining balance is due on June 15.
Need-based scholarship assistance is available!
Replacement key cards and deposit: All campers must bring a deposit to the first day of camp to be given a key to their room. These funds will not be deposited but will be held by the Summer in the Arts office in the case of a lost key. The funds will be deposited only in the case that a key is lost. Key deposits are returned to campers when they return their room keys at camp check out.
The deposit can be check, money order, or cash.
Please put the deposit in an envelope with the camper's name
Deposit Amount: $175
Our Visual Arts Camp staff includes talented NIU faculty and students, alumni, guest artists, and award-winning area art teachers. The ratio of campers to staff members is about 12:1. Staff members are assigned to each residence hall floor and accompany campers to all meals and activities. Complete camp staff info will be available soon.
Lynn Stockton (camp director) Lynn Stockton has been a high school art teacher for 30 years. She is a Nationally Board-Certified Teacher. In 2008, she was recognized by the Illinois Art Education Association as the Secondary Art Teacher of the Year. Her students have won numerous awards and scholarships at the local, state, and national levels. She has helped to facilitate and restructure the visual art programs of two Illinois school districts and was instrumental in the addition of Advanced Placement Studio Art as an option for high school students in those districts. In June 2011 she was appointed to the National Prismacolor Advisory Council. She is currently teaching at Rockford Jefferson High School where she heads the largest advanced placement studio art program in northern Illinois. Ms. Stockton has been the director of the Visual Arts Camp since 2001.
Ailysh Cooper (life drawing) Ailysh grew up in Oswego, IL and attended this art camp for four years leading up to college, when she began attending NIU. Ailysh is finishing her degree in Art and Design Education and is currently student teaching junior high.
Courtney Haugdahl (acrylic painting) Courtney Haugdahl is an art education student at Northern Illinois University, an honors student, and a member of the honor society, Phi Kappa Phi. Courtney's favorite art medium is painting, and she enjoys reading and making art in her spare time. Art has been a way for Courtney to challenge herself inside and outside the classroom and she hopes to always continue to learn more about it beyond school. She has worked at the Visual Arts Camp for several years.
April Macantagay (figure sculpting) April Macatangay received her bachelor's degree in art education from NIU in 2005 and earned her bachelor's degree in fine arts from NIU in 2007. She has been an artist-in-residence in Poland, as well as the Philippines, where she learned to make traditional clothing from pineapple fiber. Her work has been exhibited widely and she currently teaches in the Chicagoland area. April has worked with the Visual Arts Camp for several years.
Becki Miller (drawing realism) Becki Miller is currently a local and freelance artist. She has long-term plans for a career in art education. She has been involved in the camp since 1998 as a camper and became a counselor in 2002.
Timothy Roloff (acrylic painting) Tim Roloff graduated from NIU in 2017 with a bachelor's degree in art education. He has been teaching art at Woodstock North High School for the past 2 years. Tim has been a counselor at Art Camp since 2014.
John Zilewicz (experimental drawing practices) John Zilewicz is an artist and educator in the Chicago area. He has a MA in Painting and Drawing and holds a BA in Two-Dimensional Studio Art. With over 20 years of teaching experience, Zilewicz is an instructor with an entertaining style of teaching art and he brings thoughtful and colorful enthusiasm to the classroom discussion. He currently teaches AP and Advanced Studio level courses at Niles West High School where he's been at since 2006. Each year, his students are recognized at local, state and national competitions for their excellence in the visual arts. Zilewicz himself was recognized for his contributions to art education and received the Illinois Secondary Art Educator of the Year Award in 2016. He is also the Creator of the Illinois High School Art Exhibition (IHSAE), an exhibition program that has gained national recognition around the country from top art schools, colleges and universities. He currently serves as the organizations Executive Director. In his personal artistic practice, Zilewicz explores several different themes, but mark-making, intuitive painting and found object assemblage are among his favorites. Zilewicz works from his home studio in Arlington Heights. He exhibits his artwork regularly and has been featured in various exhibitions and local galleries.
Ashley Martinez (painting with pastel)
Samantha Haring (creating with color)
Bjana Lunde (experimental drawing studies)
Dustan Creech (sculpture)
A general overview of the camp schedule is below.
Check in at the Neptune Hall lobby and pick up camp materials. Free parking is available at the visitor pay lot just south of Neptune hall.
Jack Arends Hall, room 100
Parents are welcome at this orientation session with the camp director and staff.
Sunday to Friday
Jack Arends Hall
Closing ceremony/art show
After the show, pick up your luggage from Neptune Hall.
Join Our Camps Mailing List
Music Building 132
Kristin Sherman
ksherman2@niu.edu
Online Office Hours
Monday-Friday, 8 a.m. - 4:30 p.m.
(lunch from noon – 1 p.m.)
To protect the safety of our staff, students and families, we will operate remotely until further notice. Our staff will be available at their remote offices during normal NIU business hours and can be contacted via phone or email.


text:
Q: Accessors in nodejs c++ addons How to use setter and getter for a global variable 'X' in a C++ extension to a Node.js?
I am getting undefined 'x' in getter and setter methods.
Trying to execute Accessors program for Static Global Variables from this link.
I have successfully written a tiny module that adds and multiplies the two given numbers.
following is my code
Init(entry point) method contains-
exports->SetAccessor(String::New("x"), XGet, XSet);
and above that I have following setter and getter.
Handle<Value> XGet(Local<String> property, const AccessorInfo& info){
return Integer::New(x);
}

void XSet(Local<String> property, Local<Value> value, const AccessorInfo& info){
x = value->Int32Value();
}

On compilation it says - 'x' was not declared in this scope

A: The error message 'x' was not declared in this scope pretty much pins it down. Your code and the example page you are looking at are explicitly titled Accessing Static Global Variables, so I think they assume you already have such a variable x defined, which you want to access/mutate via JS.
So the quick fix is the add int32_t x; in your C++ file somewhere above XGet and XSet.
The node documentation has a little bit of information on this, and the section titled Wrapping C++ objects might be a good place for you to start if you want to work with instances of an object rather than single global variables.

redpajama_set_name: RedPajamaStackExchange


text:
1999 PL4 (asteroide 38246) é um asteroide da cintura principal. Possui uma excentricidade de 0.06701800 e uma inclinação de 8.96783º.

Este asteroide foi descoberto no dia 14 de agosto de 1999 por Jana Tichá e Miloš Tichý em Kleť.

Ver também

 Lista de asteroides
 Asteroide da cintura principal

Referências

Ligações externas

Asteroides da cintura principal
Objetos astronômicos descobertos em 1999

redpajama_set_name: RedPajamaWikipedia


I have great hope for the country I live.Key gains for the Republicans came in Indiana, Missouri, metal gift tags Florida and North Dakota, where they unseated Democrat incumbents.(applause man, these are nasty people.There were warning signs, but we ignored them.Mr Trump, he..
Governor Barbour added that the.S.Hudsons Bay High School, Vancouver, Wash.Yesterday to celebrate the five grand prize winners of the 5th Annual Samsung.Northwest Pennsylvania Collegiate Academy won the Community Choice Award with nearly 100,000 public online votes; Hudsons Bay High School won the Samsung..
Enter your email address with name and other details and join their online club to get daily email alerts for new menu, offers, promotional codes, coupons and many more.Hotel-R, Best Hotel Deal Site.Awards Accolades, guest Rooms, guest room, 1 King, Balcony, check Rates.Host..
Don't want to miss any great Panera coupons code Just browse on Discountscat.
Youll find the bakery and café chains creations at more than 1,500 locations around the US and Canada, ready and waiting for when you have a craving for Cuban chicken panini, fresh-made French toast bagels, or a loaf of stone-milled rye.
Sale: Get Deal (196 People Used).Cool off with a fruit smoothie, frozen lemonade, or gourmet iced tea latte.Indulge yourself in the simple goodness of fresh-made bread at Panera.All, sales, expired Panera Coupons, you may also be interested.Warm up with Paneras soup in a sourdough bread bowl, hot chocolate, or espresso.Menulog Australia Coupon Codes 99 Restaurants Coupon, malincho Coupon, smartLab Toys Coupon, matcha Source Coupon m Coupon Code Deals.Slice your bread budget with Panera coupons and save on savory baked goodies: Start the day right with freshly made breakfast sandwiches, bagels, scones, and muffins made with premium ingredients.Get an Offer you for any Free Pastry or Fairly sweet whenever you Subscribe to MyPanera.Shop on m, all 24 Panera coupons including coupon codes and sales for November 2018 are waiting for you at Discountscat now.Get upper-crust clay county fair 2015 discount tickets deals with Panera online coupons.
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You can also arrange for catering with delivery online to share the joy of fresh bread with friends, family, and colleagues.


If the war in Iraq continues, global IT spending will rebound this year, growing 2.3% over last year, said market researcher IDC.
The revised forecast, offered in the company's analysis, was made because of the war and uncertainty about the stability of some economic regions.
Assuming a "relatively short war" and economic stability, IDC predicts global IT spending this year will reach $852bn (£544bn).
Broken down by region, European IT spending growth will lead with 2%, with a 1.5% increase in the US and a 1.4% decline in Japan, which continues to suffer economic problems including an unemployment rate that has risen to 5%, the highest in a decade.
Spending growth will be spurred by software, with a predicted increase of 4.5% worldwide. Hardware, however, will continue to slump with an 0.5% decline, IDC analysts said.
Spending on services will also increase, with 3.7% growth predicted.
Overall growth will continue next year, with an increase of 4% to 6%, and hit 6% to 7% in 2005, analysts said. The global IT market will reach $1tn in revenue by 2006.
Low profits and the business climate are the two top issues that cause companies to cut back on IT spending, but there is a demand from the past couple of years that will gradually start to overcome these inhibitors which will shift toward an IT spend increase, said Stephen Minton, program director for IDC worldwide IT markets.
In the Asia-Pacific region, the outlook also remains mixed, Minton said. China is forecasted to experience a 7% to 8% growth in gross domestic product next year. Insurance and banking companies are moving into China and the telecommunications sector there also shows promise for growth.
Elsewhere in the Asia-Pacific region, Australia will continue to be strong and Southeast Asian countries will stay on the road to recovery.
There was a big quetion mark over the Middle East because of the effect a prolonged war would have there, as a long war will damage its economy overall.
IDC forecasted that after the war there will be a gradual recovery for corporate profits and business confidence will improve, which will mean a global increase in IT spending.


text:
Air France and Vendredi join forces to help those in need
In 2021, Air France, in partnership with the social start-up Vendredi, launched a vast programme to involve staff in the associative world, called "Mon engagement citoyen". In this way, the company is reaffirming its commitment to social and environmental issues in the countries where it operates.
Thanks to Vendredi's civic commitment platform, company staff can connect with a network of more than 1,500 associations and volunteer for a wide range of actions, including mentoring, skills sharing, awareness raising, patrols, etc. More than 170 companies have already joined the Vendredi platform.
On this platform, assignments are available throughout the year to Air France staff, for the benefit of partner associations in 6 fields of action dear to the company and its Foundation: Children, Education – Training – Employment, Disability – Health, Fight against poverty, Intergenerational sharing and Environment.
Since its launch at the end of April 2021, 3,000 Air France employees have already registered on the Vendredi platform and nearly 400 volunteer actions have already been carried out. This programme follows on from the "Citizen Solidarity Days" organised by the company over the three previous years.
Air France and Vendredi join forces to help those in need | Air France

redpajama_set_name: RedPajamaCommonCrawl


text:
The Birth of Joncomics
Jon began drawing hardcore at the tender age of five. Stuck inside evening church services, he would lay a Holy Bible across his lap, grab some crayons, and doodle all over the itineraries until the sermon ended. He usually drew very tall buildings, with Godzilla attacking them real good.
Jon was homeschooled until the tender age of eight, and it was then when he was finally able to unleash his talented art on the friendly neighborhood elementary school. Most kids are pretty creative, but Jon was on a different level. He remembers being scolded for drawing all over the back of his (highly scored) tests.
It was in these years that Jon truly began exploring the comic medium. Essentially, he read a bunch of Captain Underpants and Calvin and Hobbes and realized he could use boxes to tell a story. He began penning classics such as "Billy Fofo and the Terrible Tomatoes" and the "Chao in Space" series (he was playing a bunch of Sonic Adventure 2).
Turning a Spark Into a Star
Years passed, and a teenage Jon continued making silly comics for his own enjoyment. The internet was becoming standard in most households, and Jon spent plenty of time checking out all the cool stuff people were creating online. He especially liked the humor of Perry Bible Fellowship and the crude, simple style of Cyanide & Happiness. While the former is fantastic all around, the latter showed Jon that what really mattered was the jokes. If Jon could be silly enough, the art could, hopefully, be excused.
You see, Jon's artistic talents never progressed past the tender age of eight. The stick figures of his youth remained in a state of arrested development. But the fine artists at Explosm had struck gold with Cyanide & Happiness, and Jon believed he could too. He began uploading his work to Deviantart, using a Limewire'd copy of Adobe Illustrator as his easel. It went about as well as you'd expect, but then his computer exploded or something and Illustrator was lost.
Instead of re-Limewire-ing the program, which he didn't really like anyway, he turned to one of the turnkey Windows applications: MSPaint. It was simple, intuitive, and exactly what Jon needed.
Stars Grow Large, Then Die
At some point, Jon began posting in the Explosm forums' fanart thread. This led to a lot of overly violent, profane, or sexual comics (keeping in the C&H vein), but Jon was finding something he never had before: an audience! People would give feedback, share enjoyment, and let him know when he made a real, real bad comic. The humor turned out to be unique enough to be more than a simple C&H knockoff, and the forum members encouraged Jon to create his own website.
He did, and the comics continued to flow until around 2012. That year, Jon had dropped out of a woefully mischosen college program, begun living in a place without internet, and was generally worried about non-comic-related things. He was an adult, and unfortunately, adulthood had found a way to remove most of his creative drive.
Venturing Into the Black Hole
Life was becoming a struggle for Jon, and things seemed to continue spiraling downward. He returned to making comics briefly in 2013 and then went back into the void. By leaving college, he felt he had inadvertently subjected himself to a life of physical, soul-crushing labor. He was not too tired to draw, but too tired to think of things to draw. He'd pull out his drawing tablet and nothing would appear on the screen.
Jon knew that if he continued this way, he was resigning to a life without real meaning. A weird moment of clarity hit him when watching Monsters University, and he decided to go back to skewl — this time, doing something he actually enjoyed. He graduated and started working in his field, using his mind instead of his body. It was (and still is) enjoyable work, and the pieces he thought he'd lost began falling back into place.
He opened an old notebook, looked through the doodles of yesteryear, and began drawing again. He posted a new comic, three years in the making, in July 2018. Just like when he was a kid, he's once again making comics for his own enjoyment. Except this time, he gets to share them with all of you.


text:
require "rails_helper"

module PaperTrail
  RSpec.describe Cleaner, versioning: true do
    def populate_db!
      @animals = [@animal = Animal.new, @dog = Dog.new, @cat = Cat.new]
      @animals.each do |animal|
        3.times { animal.update_attribute(:name, FFaker::Name.name) }
      end
    end

    describe "clean_versions!" do
      before do
        populate_db!
      end

      it "baseline test setup" do
        expect(PaperTrail::Version.count).to(eq(9))
        @animals.each { |animal| expect(animal.versions.size).to(eq(3)) }
      end

      context "no options provided" do
        it "removes extra versions for each item" do
          PaperTrail.clean_versions!
          expect(PaperTrail::Version.count).to(eq(3))
          @animals.each { |animal| expect(animal.versions.size).to(eq(1)) }
        end

        it "removes the earliest version(s)" do
          before = @animals.map { |animal| animal.versions.last.reify.name }
          PaperTrail.clean_versions!
          after = @animals.map { |animal| animal.versions.last.reify.name }
          expect(after).to(eq(before))
        end
      end

      context "keeping 2" do
        it "keeps two records, instead of the usual one" do
          PaperTrail.clean_versions!(keeping: 2)
          expect(PaperTrail::Version.all.count).to(eq(6))
          @animals.each { |animal| expect(animal.versions.size).to(eq(2)) }
        end
      end

      context "with the :date option" do
        it "only deletes versions created on the given date" do
          @animal.versions.each do |ver|
            ver.update_attribute(:created_at, (ver.created_at - 1.day))
          end
          @date = @animal.versions.first.created_at.to_date
          @animal.update_attribute(:name, FFaker::Name.name)
          expect(PaperTrail::Version.count).to(eq(10))
          expect(@animal.versions.size).to(eq(4))
          expect(@animal.paper_trail.versions_between(@date, (@date + 1.day)).size).to(eq(3))
          PaperTrail.clean_versions!(date: @date)
          expect(PaperTrail::Version.count).to(eq(8))
          expect(@animal.versions.reload.size).to(eq(2))
          expect(@animal.versions.first.created_at.to_date).to(eq(@date))
          # Why use `equal?` here instead of something less strict?
          # Doesn't `to_date` always produce a new date object?
          expect(@date.equal?(@animal.versions.last.created_at.to_date)).to eq(false)
        end
      end

      context "with the :item_id option" do
        context "single ID received" do
          it "only deletes the versions for the Item with that ID" do
            PaperTrail.clean_versions!(item_id: @animal.id)
            expect(@animal.versions.size).to(eq(1))
            expect(PaperTrail::Version.count).to(eq(7))
          end
        end

        context "collection of IDs received" do
          it "only deletes versions for the Item(s) with those IDs" do
            PaperTrail.clean_versions!(item_id: [@animal.id, @dog.id])
            expect(@animal.versions.size).to(eq(1))
            expect(@dog.versions.size).to(eq(1))
            expect(PaperTrail::Version.count).to(eq(5))
          end
        end
      end

      context "options combinations" do
        context ":date" do
          before do
            [@animal, @dog].each do |animal|
              animal.versions.each do |ver|
                ver.update_attribute(:created_at, (ver.created_at - 1.day))
              end
              animal.update_attribute(:name, FFaker::Name.name)
            end
            @date = @animal.versions.first.created_at.to_date
          end

          it "baseline test setup" do
            expect(PaperTrail::Version.count).to(eq(11))
            [@animal, @dog].each do |animal|
              expect(animal.versions.size).to(eq(4))
              expect(animal.versions.between(@date, (@date + 1.day)).size).to(eq(3))
            end
          end

          context "and :keeping" do
            it "restrict cleaning properly" do
              PaperTrail.clean_versions!(date: @date, keeping: 2)
              [@animal, @dog].each do |animal|
                animal.versions.reload
                expect(animal.versions.size).to(eq(3))
                expect(animal.versions.between(@date, (@date + 1.day)).size).to(eq(2))
              end
              expect(PaperTrail::Version.count).to(eq(9))
            end
          end

          context "and :item_id" do
            it "restrict cleaning properly" do
              PaperTrail.clean_versions!(date: @date, item_id: @dog.id)
              @dog.versions.reload
              expect(@dog.versions.size).to(eq(2))
              expect(@dog.versions.between(@date, (@date + 1.day)).size).to(eq(1))
              expect(PaperTrail::Version.count).to(eq(9))
            end
          end

          context ", :item_id, and :keeping" do
            it "restrict cleaning properly" do
              PaperTrail.clean_versions!(date: @date, item_id: @dog.id, keeping: 2)
              @dog.versions.reload
              expect(@dog.versions.size).to(eq(3))
              expect(@dog.versions.between(@date, (@date + 1.day)).size).to(eq(2))
              expect(PaperTrail::Version.count).to(eq(10))
            end
          end
        end

        context ":keeping and :item_id" do
          it "restrict cleaning properly" do
            PaperTrail.clean_versions!(keeping: 2, item_id: @animal.id)
            expect(@animal.versions.size).to(eq(2))
            expect(PaperTrail::Version.count).to(eq(8))
          end
        end
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
Q: How do you connect localhost in the Android emulator? I have made a php script inside localhost and I am connecting that with httpClient but I am getting a problem.
Please tell me how can I connect to a php file at localhost from the emulator?

A: Use 10.0.2.2 to access your actual machine.
As you've learned, when you use the emulator, localhost (127.0.0.1) refers to the device's own loopback service, not the one on your machine as you may expect.
You can use 10.0.2.2 to access your actual machine, it is an alias set up to help in development.

A: Use 10.0.2.2 for default AVD and 10.0.3.2 for Genymotion

A: Instead of giving localhost give the IP.

A: Thanks, @lampShaded for your answer.
In your API/URL directly use http://10.0.2.2:[your port]/ and under emulator setting add the proxy address as 10.0.2.2 with the port number. For more, you can visit: https://developer.android.com/studio/run/emulator-networking.html

A: This is what finally worked for me.

*

*Backend running on localhost:8080

*Fetch your IP address (ipconfig on Windows)

*

*Configure your Android emulator's proxy to use your IP address as host name and the port your backend is running on as port (in my case: 192.168.1.86:8080

*Have your Android app send requests to the same URL (192.168.1.86:8080) (sending requests to localhost, and http://10.0.2.2 did not work for me)

A: Thanks to author of this blog: https://bigdata-etl.com/solved-how-to-connect-from-android-emulator-to-application-on-localhost/
Defining network security config in xml
<network-security-config>
    <domain-config cleartextTrafficPermitted="true">
       <domain includeSubdomains="true">10.0.2.2</domain>
    </domain-config>
</network-security-config>

And setting it on AndroidManifest.xml
 <application
    android:networkSecurityConfig="@xml/network_security_config"
</application>

Solved issue for me!
Please refer: https://developer.android.com/training/articles/security-config

A: you should change the adb port with this command:
adb reverse tcp:8880 tcp:8880; adb reverse tcp:8081 tcp:8081; adb reverse tcp:8881 tcp:8881


How to Install Vinyl Windows in Your Home | Coastal Industries, Inc.
Some areas located in high wind speed zones may require additional or special anchorage in order to comply with local and state building codes. To ensure top performance from this product, please follow the installation and maintenance instructions. Installers are responsible for consulting contractors, engineers, consumers, for proper installation according to local codes and/or ordinances.
Coastal windows must be installed level, plumb, square and weather-tight in their openings. Improper installation is the greatest cause of malfunction for windows. It may also promote the deterioration of the wall construction and its respective components. If you require more in-depth instructions, please contact Coastal Industries.
1. This product must be installed in conformity with AAMA 2400–10, AAMA 2410-13, IPCB-08 (Window, Door, and Skylight Installation).
2. To determine the rough opening size, measure horizontally and vertically at three points and record smallest opening dimensions.
3. Ensure that rough opening dimensions exceed those of the new window frame by 1/4 in. (6 mm) in width and in height.
4. Before installing the new window, make sure the surface is straight and level, and free of any debris. Otherwise, use shims at both ends and in the center to provide a straight and level base. Shims must be wide enough to provide proper support between the window frame and rough opening.
5. For retrofit window, apply a minimum 3/8'' continuous sealant bead to the mounting surfaces of the preexisting window frame across the head and down the jambs and across the exterior mounting surface of the sill, leaving a minimum void of 1'' in-line with existing weep holes to allow any moisture to escape.
6. For new construction window, apply a 3/16'' continuous bead of sealant around the perimeter of the unit on the interior of the window where jambs and nailing fin from a 90 degree angle and apply a second 3/8'' bead of sealant from the outside edge of the nailing fin around the perimeter of the unit.
7. From the exterior, carefully tilt unit in rough opening, sill first. Press the brickmould or the nailing fin evenly against the exterior sheathing. Center unit in rough opening. Windows should be installed immediately after sealant application, before a skin forms or contamination occurs on the sealant surface.
8. Shim the window on all anchor points and where necessary to hold the unit secure while checking it for plumb, level and square. Be careful not to over shim to avoid twisting or deflection of jambs. Temporarily fasten window in opening through the nail fin slots.
10. For retrofit window, screw through both the retrofit and pre-existing window frame head and jambs and anchor into the surrounding wall framing.
11. For a new construction window, secure the full perimeter with fasteners on a maximum of 16'' centers. In each direction from all corners, there shall be a fastener within 10'', but not closer than 3'' to prevent frame distortion or fracture of joint seals. Hinged and pivoted windows may require additional fasteners near the hinge or the pivot point.
12. Do not drive nails or screws through the sill as this may allow water penetration, reduce the life of the window, and void the warranty. Do not over-tighten screw as this may warp or bend the window's frame. Seal screw-hole both prior and after installation of the screw.
13. Check the sash operation and adjust hinges and operators on casements and awnings.
14. Fill in the space around the window frame, in the interior, between the frame and the opening with fiberglass insulation. Do not block any weep openings on the pre-existing window. Do not overfill, as this may jeopardize the insulation's thermal properties and warp the frame members. If urethane foam insulation is to be used, use low expansion foam. We recommend first applying a small amount of material, allowing enough space for expansion. Once the material has expanded, a second application may be done.
15. Maintain a minimum 1/4'' between the window frame and the final exterior wall surface. Install a backer rod and seal the exterior of the window with PVC-compatible caulking. On a new construction window, caulk flashing over nail fin at jambs and head.
16. Recheck the sash operation and weather-stripping.
17. Finish off the exterior of the window. Do not leave any gaps where water or outside elements can penetrate into the home. Make sure that the weeps on the outside of the window are open and that water can drain from sill and out of the weeps.


Whisper it, but there's an alarming degree of similarity between the leaders of our two biggest political parties right now.
It's a matter of some conjecture as to whether this situation is pure happenstance, or the inevitable result of party machine politics backed by big donors and special interests. I've written extensively on how the dual pressures of Brexit specifically and rising populism generally have forced many special interests to finally show us their true colours. In some ways the results have been entirely predictable, although probably a lot worse than many of us would've liked to guess. Perhaps one of the biggest scandals emerging from this whole situation is the startling similarity between the two party leaders, who claim to be implacable enemies.
Jeremy Corbyn's distaste for the modern capitalist West is well documented, so there's no reason to regurgitate the rap sheet in this column. Suffice to say that whenever there's a conflict of interests, his gut instincts always align with those who wish to do his native country harm. Support for a controversial cause like Irish republicanism could be excused as principled if it were a one-off, but when it's part of a decades-old pattern of behaviour, we must conclude that some overarching world view is informing Corbyn's thinking. In short, the leader of Her Majesty's Opposition believes that 21st-century Britain is somehow an enemy of freedom and a threat to the rest of the world.
All in all, Britain's economy has confounded the professional doom-sayers since the 2016 referendum. Unemployment is down and business confidence is steady, no doubt buoyed up by the boom in the hyperbole sector as the commentariat's hysteria factories run hot night and day. Never before have we seen such an avalanche of gloom and apocalyptic prognostication pouring forth from blogs, online pundits and the mainstream media's digitised platforms.
Of course we all know that blood-curdling clickbait is part and parcel of life in cyberspace, and as such we shouldn't take it too seriously.
However, this time I think they could be right. We could be witnessing the end of the Conservative Party if things don't change, radically and fast.
Theresa May's pathological drive to shackle this nation to the bloated, unpopular and dysfunctional European Union at any cost has driven her to the point of political insanity. Quite literally. Rather than listen to the membership, the voters, the Parliamentary party or even her own Cabinet and respect the referendum result, she has instead embarked on a course deliberately designed to ensure the UK can never escape the legal dominance of the European Union.
With Theresa May's disastrous Brexit deal set for a second historic drubbing in the House of Commons, the commentariat have been thrown into a frenzy of shrieking speculation. Tales of no deal, no Brexit, no divorce bill and no fresh fruit have reached a fever pitch as our political prognosticators share their sage insight as to what will happen next.
With all this noise and fog surrounding tomorrow, a large slice of the political class and their media buddies have completely forgotten yesterday's lesson. They seem to have lost sight of exactly how this huge snowball of unanticipated yet wholly predictable events ever got rolling in the first place. They ignore history at their peril.
It was none other than David Cameron who pushed the rock down the mountain back in January 2013, and what's more he did it all for party political reasons. Prior to Cameron's fateful decision to call the Brexit referendum, dissatisfaction with the European project had been growing for years, gnawing steadily at the Tory heartlands and eventually manifesting as an existential threat from Nigel Farage's UKIP.
Just like a toothache, Cameron knew the Europe issue would only get worse if he ignored it; so he took the bold decision to shoot the UKIP fox once and for all before it could raid any more Tory chicken coops. In doing so he set off a political tsunami which has swept us into these uncharted constitutional waters.
The Eurozone is sliding into recession, again. France is on fire, again. Italy is in open revolt and nationalist populism is rapidly gaining ground across the entire Western world. We cower behind concrete as we wait for the inevitable Islamist attack while apologists for religious genocide walk among us unchallenged, and in many cases proactively protected by the establishment. In response to these crises of their own creation, our democratically elected governments conspire to stifle free speech and police unfashionable opinions in the name of security; the oldest Faustian bargain known to civic society.
It wasn't supposed to be like this. We were promised that a post-national world would usher in greater peace, prosperity and security for all. Instead we are reaping the bitter harvest of fragmentation and frustration first sowed by the post-Cold War consensus of neo-liberalism. A consensus which was foolproof, evidence-based and unassailable…right up until the moment it was properly tested in the real world.
To put it another way, our political, academic and media elites held certain truths to be self-evident without really thinking them through. Or even worse, they did think them through and pressed ahead anyway, knowing that the real-world burden of their lofty aspirations would be borne by those least able to resist a post-national world they were never consulted about. That idea may sound a bit like a conspiracy theory, but it would help to explain the otherwise mystifying decades of hostility and organised vilification of all who dared to question whether borderless travel, mass migration, national outsourcing and state-sponsored multiculturalism are in fact unalloyed benefits. After all, if the establishment was so confident in the robustness of its ideas, why would it actively seek to destroy those who questioned the established orthodoxy?


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U.S. Fourth Circuit
Clever but Ineffective Defense Fails to Free Bank Robbers
By Casey C. Sullivan, Esq. on March 30, 2016 6:59 AM
In late 2013, a wave of armed bank robberies occurred around Washington, D.C. In October, a bank in Rockland, Maryland, followed by one in Vienna, Virginia, was hit. The next month, a Wells Fargo in Arlington. Just a few weeks later, on New Year's Eve 2013, three men were arrested, just after they robbed another Arlington bank, caught with nearly $48,000 of cash in hand.
It's hard to beat a charge of armed robbery when you're caught literally leaving the bank. It can be even harder to win on appeal, after you've been convicted of almost every charge thrown at you. But that didn't stop two of the robbers, James Larry McNeal and Alphonso Stoddard, from appealing their convictions using some clever novel arguments: one, that the government had failed to show that their guns could shoot; two, that armed bank robbery was not a crime of violence. Somehow, those arguments failed to convince the Fourth Circuit, which upheld their convictions.
Stoddard's bank robbing spree began in earnest on October 29th, 2013. Stoddard, along with James Link, attempted to rob a Wells Fargo in Rockville, Maryland. They left empty handed, but tried their luck again the next night, at the Bank of Georgetown in the D.C. suburb of Vienna, Virginia. The men nabbed only $3,500 in that robbery, but had better success robbing a bank Wells Fargo in Arlington a month later, taking $19,000 in cash. In those robberies, an informant claimed, James McNeal drove the getaway car.
The trio's luck ran out on New Years' Eve, however. Having been tipped off by the informant, the FBI started monitoring McNeal's car, eventually catching the men as they fled their final armed robbery in Arlington. (This were no young upstarts, either. When Link was sentenced in 2014, he was 57. Stoddard was 59; McNeal 63.) Stoddard ended up being sentenced in federal court to life in prison and McNeal to 184 months.
A Gun, Sure, but Can It Fire?
Stoddard and McNeal both appealed their convictions -- and they weren't afraid to work with what they had. Among their more interesting arguments was that there was insufficient evidence to prove that the handguns the two were caught with were in fact firearms, as defined by federal law.
That law defines firearms as "any weapon ... which will or is designed to or may readily be converted to expel a projectile by the action of an explosive." Expert testimony is needed to show that the guns could fire, McNeal and Stoddard argued.
Unsurprisingly, this wasn't a winning argument. The use of a gun is sufficient enough to assume that it is a firearm, absent evidence that it was a fake, the court found.
Just a Peaceful, Nonthreatening Armed Bank Robbery
In a second instance of "well, at least it's a novel theory," the duo argued that their convictions must be set aside because armed bank robbery is not a "crime of violence." In fact, it was such a novel theory that the Fourth Circuit had never addressed it before. But creative as it may be, the argument didn't fly.
Under federal law, a crime of violence is a felony offense that either involves the use, attempted use, or threatened use of physical force. Is brandishing a gun during an armed robbery enough? Yes, the Fourth Circuit found, since one of the elements of the armed bank robbery charge is that money be taken "by force and violence, or by intimidation." That entails the use of physical force, the Court ruled, putting it in line with every other circuit to address the question so far. Even bank robbery by intimidation requires the threatened use of force, the court found.
We've yet to hear if the appellants will seek to take their novel interpretations up to the Supreme Court.
December a Booming Month for D.C., Va. Bank Robbers (WJLA Arlington)
Court Elaborates Proper Test for Career Offender (FindLaw's U.S. Fourth Circuit Blog)
30 Years for $40 of Interstate Commerce; Fleeing Still a Violent Felony (FindLaw's U.S. Fourth Circuit Blog)
4th Cir Vacates Conviction of Man Who Scared Woman to Death (FindLaw's U.S. Fourth Circuit Blog)


Embroidery is a premium printing process that is universally loved by shoppers of all ages. With TeeChip, it's easy to transform your favorite niche into a top-selling embroidery campaign!
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Samsung Galaxy A20 3/32GB
The Samsung Galaxy A20 mobile features a 6.4" (16.26 cm) display with a screen resolution of 720 x 1560 pixels and runs on Android v9.0 (Pie) operating system.
Manufacturer: Samsung
SKU: FB-SAMSUNG GALAXY A20
Old price: 19,490.00 (Rs)
Price: 18,710.00 (Rs)
The Samsung Galaxy A20 mobile features a 6.4" (16.26 cm) display with a screen resolution of 720 x 1560 pixels and runs on Android v9.0 (Pie) operating system. The device is powered by Octa core (1.6 GHz, Dual core + 1.35 GHz, Hexa Core) processor paired with 3 GB of RAM. As far as the battery is concerned it has 4000 mAh. Over that, as far as the rear camera is concerned this mobile has a 13 MP + 5 MP camera . Other sensors include Proximity sensor, Accelerometer, Gyroscope. So, does it have a fingerprint sensor? Yes, it does. For graphical performance that can make games run smoothly, this phone has got a Mali-G71 GPU. On board storage is at 32 GB with the option to expand the memory by Yes Up to 512 GB. Design is one of the most important factors when it comes to mobiles. This phone is 7.8 mm slim and weighs 169 grams
samsung mobile (45)
samsung phone (43)
galaxy a20 (1)
samsung galaxg (3)
samsung a20 (1)
sansung a 20 (1)
a 20 (1)
samsung galaxy a 20 (1)
2 GB RAM 32 GB ROM Expandable Upto 512 GB 15.75 cm (6.2 inch) HD+ Display 13MP Rear Camera 5MP Front Camera
The Samsung Galaxy A50 is a mid-range smartphone with a premium design, Super AMOLED screen, an in-display fingerprint reader, a triple camera, and a large battery. The phone features a 6.4-inch Super AMOLED screen with Full HD+ resolution, 19.5:9 aspect ratio, and a U-shaped notch. It features a 25MP selfie camera with f/2.0 aperture. There is a triple-camera setup at the rear, which consists of a 25MP sensor, an 8MP sensor, and a 5MP sensor, can record 4K videos. There is a 25MP selfie camera at the front. The Galaxy A50 runs Android 9 Pie-based One UI and uses the Exynos 9610 chipset. The phone has GPS, a dual-SIM card slot, 4G connectivity, dual-band Wi-Fi ac/b/g/n, Bluetooth 5.0, NFC, a USB Type-C port, and a 3.5mm headphone jack. It lasts long, too, thanks to a 4000mAh battery which supports 15W fast charging.
Samsung Galaxy A30 mobile features a 6.4" (16.26 cm) display with a screen resolution of 1080 x 2340 pixels and runs on Android v9.0 (Pie) operating system. The device is powered by Octa core (1.8 GHz, Dual core, Cortex A73 + 1.6 GHz, Hexa Core, Cortex A53) processor paired with 4 GB of RAM.
Samsung Galaxy A6 64GB
The Samsung Galaxy A6 has a 5.6-inch screen with an HD Plus resolution built in. The resolution comes as a result of a density of 294 pixels per inch. This, along with the fact that it is a Super AMOLED type display, makes viewing a better experience. As for the processing, there is an octa-core Cortex A53 processor under the hood that works at a speed of 1.6-GHz. Further, the 4GB RAM helps provide a wonderful multi-tasking experience. The entire set of the processor, RAM and the Mali-T830 is backed by an Exynos 7 Octa 7870 from Samsung.


More than 105,955,000 people will be eligible to vote in the general election this year, the Election Commission of Pakistan (ECP) said on Wednesday.
According to the data released by the commission, the electoral roll includes 59,224,000 male voters and 46,731,000 female.
As expected, Punjab with more than 60 million has the highest number of voters in the country.
In Sindh, the total number of voters is 22 million, followed by Khyber-Pakhtunkhwa with 15 million, Balochistan four million and the Federally-Administered Tribal Areas (Fata) with 2.5 million voters.
The statistics were revealed hours after the national electoral authority issued a draft of the polling scheme for the upcoming general polls.
The draft outlines constituency-wise details of polling stations including the number of polling booths and voters assigned to each station.
As per the polling scheme announced by the ECP, as many as 86,436 polling stations will be set up for the elections throughout the country, including 48,667 in Punjab and 18,647 in Sindh, 14,655 in Fata and K-P, and 4,467 polling stations will be established in Balochistan.
Earlier this week, the commission recommended holding upcoming general elections between July 25 and July 27 under Section 57 (1) of the Elections Action Act 2017 in a summary forwarded to President Mamnoon Hussain.
The incumbent government will complete its term on May 31.


New Zealand flanker Rickie McCaw will become the first rugby union player to captain his country in 100 Tests, when the All Blacks face Wales at the Millennium Stadium on Saturday.
The 33-year-old has forged a formidable record since leading the All Blacks out for the first time a decade ago, tasting defeat on only 12 occasions.
As well as being named IRB player of the year an unprecedented three-times, McCaw also led the Kiwi's to their first Webb Ellis Trophy for 24-years in 2011, and is now beginning to be touted as one of the games greatest players.
But is he the best captain of all time?
The former Australia batsman led the Baggy Greens to 50-over World Cup success in 2003 before taking on the captaincy in all formats two years later, where he would go on to win the 2005 Ashes series and retain the World Cup in 2007.
The 39-year-old called time on international cricket in November 2012 having accumulated an Australian record 48 Test wins as captain, averaging 51.85 with the bat, and bowing out only second to Sachin Tendulkar for most runs scored in five-day cricket.
It's hard to imagine where Liverpool would be without the talismanic role Gerrard has played since taking on the captains armband in 2003.
The 34-year-old has been the centerpiece of all things good for Liverpool over the last decade, leading them to Champions League glory in 2005, the FA Cup 12-months later, and the League Cup in 2012.
Most would have sympathised had Gerrard traded Merseyside for Madrid in search of the success he truly deserved, but that's not in his DNA.
The former West Indies cricketer will not only go down as one of the most explosive batsman of all time, but also one of the most games definitive captains.
Even the most talented of players can be affected by the added responsibility of captaincy, but not Richards. It only made the Antiguan more ruthless out in the middle.
The 62-year-old led the Windies for 50 Test matches and goes down as the only cricketer in the countries history never to have lost a Test series.
Captain of a Lions tour success over South Africa, leader of five Premiership trophies and back-to-back Heineken Cup titles with Leicester Tigers, skipper of three Six Nation conquering sides with England, and last but not least, the first and last England captain to lift the World Cup.
Martin Johnson may not spring to mind as one of rugby's star players, but the former lock will go down as one of the sports most formidable leaders on the pitch.
The 70-year-old remains the most successful captain in Ryder Cup history. The English golfer competed in eight Ryder Cup's as a player before turning his hand at leading Europe against the Americans.
America had endured a 28-year period of dominance before Jacklin replaced John Jacobs for the 1983 Ryder Cup in Florida. Jacklin would taste defeat in his first experience, but it would only spur him onto greater times.
Jacklin led Europe to consecutive victories and retained the trophy in his final year.


Jonah and the Whale. Artist Unknown, Circa 1400. Metropolitan Museum of Art.
1. What is your guiding principal when putting together a season's repertoire and what common theme did you choose for this Sixths season of the Bach@7 series?
MG: In general, when planning Bach@7 programs, rather than only resorting to exploring the music of Bach and his contemporaries, I prefer to look to other centuries and find works that share a similar theme. For example, this season we will be visiting the earliest examples of the oratorio that developed in Rome in the 17th century – all the way to the 21st century, with a newly commissioned work that shares the same theme as Bach Cantata BWV 125.
This year, Bach@7 explores the idea of "narratives." Some pieces will tell actual stories, like the biblical story of Jonah and the Whale (Carissimi's Jonas on October 10) or the story of the aged Simeon who was promised by God that he was to see the Christ child before he dies (Chelsea Komschlies's Nunc Dimittis and J.S. Bach Cantata BWV 125 on February 27).
The others are poetic narratives, as in the celebration of love between two people from the "Song of Solomon" (J.C. Bach's Meine Freundin, Du bist schön and J.S. Bach's The Wedding Cantata BWV 196 on November 28) and the contrasting "Lamentation of Jeremiah" in the destruction of Jerusalem and the Babylonian captivity of the Israelites (Couperin's Lecons de Tenebre on March 13).
Finally, on April 24, we will present Heinrich Schütz's Resurrection Historia which follows the biblical narrative of the Easter story. The singers will be accompanied not with trumpets and drums, but intimately, with three Violas da Gamba!
2. What do you think makes Choral Arts unlike others in Philadelphia?
MG: To me, nothing comes close to the power and directness of the human voice. And to get a group of people singing together in harmony can be truly magical!
What makes Choral Arts unique is that we are an all-auditioned chamber ensemble with a professional core of singers. In keeping the number of voices around 40, everyone is responsible for what they contribute to the whole. This also allows us to have the dexterity to sing tricky passages of Bach's more virtuosic music while still maintaining a "full" sound.
"No other composer in history seems to capture the imagination like Johann Sebastian Bach. No composer seems to transcend the span of time like he does. Whether you are religious or not, Bach's cantatas warn us, they challenge us, they comfort us and fill us with unbridled joy. They are truly timeless in their message."
3. In the five programs of the Bach@7 series this year there is a noticeable new balance between programs utilizing full forces of choir and orchestra – and programs demanding a more intimate size ensemble. Is this intentional?
MG: Choral Arts and our Bach@7 series are all about community. We are a collective of differing musical forces: our talented volunteer choir singers, professional core, soloists, the instrumentalists of the Bach Collegium. What is always constant is engaging a community of active listeners with whom we can communicate.
However, one of the exciting challenges for me is how we pair up the various elements of our community of performers. I want to give each component of our performer collective a broader ability to explore the "full sound," with the power of everyone, in contrast to what can be achieved in a more chamber-like setting.
4. What's the story behind Nunc Dimittis, your newly commissioned work by Chelsea Komschlies to be premiered in February?
MG: Chelsea Komschlies is a recent graduate in composition from the Curtis Institute of Music. A few years ago, I did a project with the Curtis composition department where the students had hands-on experience composing choral works that were intended specifically to be performed in the context of a worship service. Chelsea chose to set the text of the Nunc Dimittis (Lord, now lets thou thy servant depart in peace) which are the words of the aged Simeon in the Gospel of St. Luke who was promised by God that he would live to see the Christ child.
I was quite taken with Chelsea's extremely dramatic approach to the text. I realized that there are no longer works that really explore the text of the Nunc Dimittis (unlike the Magnificat) and asked her if she would be interested in taking her original work and expand it into a miniature "oratorio," which luckily really appealed to her. We will perform her piece on February 27, paired with Bach Cantata 125 set to the same verses.
New Year's Eve 2017: Monteverdi Vespers in live concert. S. Clement's Church. Photo: Sharon Torello.
5. It looks like Choral Arts' new tradition of a New Year's Eve concert has been established and is here to stay, doesn't it?
MG: Yes!! Four years ago, on New Year's Eve 2014, we conducted an "experimental" performance of Bach's complete Christmas Oratorio. As a result of the resounding success and the subsequent sold-out performance of same work in 2016, we realized that there is indeed a great demand in Philadelphia for a celebratory classical music event on a New Year's Eve. So last year, we continued with Monteverdi's Vespers.
Now in the fourth year of this tradition, we will present two great masterpieces of the Baroque era.
Bach's exhilarating Magnificat will include the original Christmas "interpolations" as the composer did for its premiere in 1723 in Leipzig. The second half of the concert features the four celebrated Coronation Anthems of George Frederick Handel, written in 1727 for the coronation of King George II. This was Handel's first commission as a naturalized British citizen. Although Zadok the Priest is probably the all-time favorite and best-known anthem, all four works are worthy of hearing as they are rarely performed together.
6. Please share your thoughts on the Memorial Day Weekend concert in honor of Choral Arts' founding Artistic Director Seán Deibler.
MG: It so happens, this year marks 10th anniversary of Seán's passing. He had a profound impact on the choral landscape of Philadelphia as a conductor, teacher and mentor. Choral Arts owes Seán the group's early success as a symphonic chorus of great ability that performed regularly and recorded with The Philadelphia Orchestra.
I chose Johannes Brahms' Requiem in a new version for piano four-hands to be sung in an English translation. The original was approved of by the composer who wanted the message of comfort for the living who are experiencing grief to be immediate.
There are many people in Philadelphia and beyond who were profoundly impacted by Seán's influence and mentorship. We hope to connect to many of them through this memorial.
7. In June 2019, Philadelphia will host the annual Chorus America National Conference. Will we see Choral Arts among its participants?
MG: We are very honored to have been selected to be one of the few featured choruses to perform at the Conference next year. While details are still being confirmed, we most likely will present a 30-minute concert. This is a great opportunity for us to put our best foot forward. We will perform J.S. Bach Cantata BWV 4 Christ lag in Todesbanden juxtaposed with Knut Nystedt's transcendent piece Immortal Bach, a re-imagination of a Bach chorale, Komm süsser Tod (BWV 478).
8. Why do you think the music of J.S. Bach and his cantatas are still relevant to us today?
MG: Our goal all along has been to make Bach's music, especially the sacred cantatas, as accessible to the Philadelphia community as possible. Although many music concerts and new works of today address certain themes that are relevant specifically to our current day and age, like the environment, key world events or even politics, I do try to find works that have a "timeless" quality.
To my mind, the cantatas function as essays delivered by a great actor, and are timeless in their themes. Pieces written 300 years ago still carry universal messages.
No other composer in history seems to capture the imagination like Johann Sebastian Bach. No composer seems to transcend the span of time like he does. Whether you are religious or not, Bach's cantatas warn us, they challenge us, they comfort us and fill us with unbridled joy. They are truly timeless in their message.
I don't see any reason why JS Bach is not relevant already. His music has been a legend, and it made an impact in our lives so I don't think people will easily fogger that even the younger generation. I may not be the biggest fan, but I will always be a fan of some of his songs. By the way, how was the Bach@7? I've heard a lot of great reviews about it, and I couldn't be happier that it received a warm welcome from all the people who have seen it. Congratulations to all people behind!
Having a German composer nowadays is so different back then. Johann Sebastian Bach is one of the most influential and most effective composer back in his time. Unfortunately, he is not being discussed too much in today's generation, but I believe that his influence is somehow known to others. His songs will always be known to some and it will be treated as one of the pleasures. Baroque music is still an influential kind of western music nowadays. I hope people will make it modernized and still respect the essence of the old Baroque music.


In the rapidly growing arena of natural beauty and wellness, it's getting more difficult to stand out from the crowd. Retailers have limited shelf space and targeted budgets, and their goal is to ensure that the products they place in front of customers are purchased, enthusiastically and repeatedly without returns or complaints. Our CEO, Mia Bell, shares how you can shine and show you know what it takes to make retail partners and their customers happy.
Differentiate yourself. I can't stress this point enough. It's no longer enough to be THE "cruelty-free", "natural" beauty brand as there are just so many products available now that fit this bill. There are a lot of ways to still be unique in the space. Perhaps you want to focus on fair trade ingredients, look at your price point, or choose a product niche with less competition and room for innovation such as products for teens or men, hair care or period care (to name a few). Skin and body care are naturally dense and plentiful categories, so you'll want to find a unique edge (and expertise) to stand out if you're committed to building your brand in this product arena. What hasn't been seen yet?
Invest in packaging. We all know ingredient integrity matters when claiming CLEAN, but for better or worse, so does packaging. It's the first thing retailers and consumers see and connect with on an emotional level. Consumer tastes and market preferences change over time so it's important to remember there is a possibility that you'll need a future package or brand redesign to match the times. So make it easy for yourself. Plan for the long game, not the short game. Inspiration is everywhere. Subscribe to industry publications to stay in touch with happenings in your category or glean new ideas. A favorite indie publication of mine is Beauty Independent. A really great read!
Understand the value of social media. There's no denying the power of social media, particularly in the space of beauty and wellness. Retailers want to see that you're doing the best you can to build a name and following that will ultimately help them get customers in the door to shop for your fantastic products. Knowing that your brand has fans will make them more confident that selling your product will be successful. As a business owner yourself, you know that marketing takes significant time and effort, as well as consistency. So stick to it. It will pay off! Instagram is by far the most popular avenue that well brands use to connect with new followers, not surprisingly. It's an incredibly visual medium to communicate your brand story. Both Twitter and LinkedIn can be great avenues for connecting with PR outlets and others in the complementary businesses. And Facebook is another way to visually engage with a wider audience. Even more powerful? Conducting informational LIVE streams and product demos. With video becoming the prominent captivator on all social platforms, consumers are pre-conditioned and eager to engage with your brand and products in real time. If you don't have the time or interest, it's worth investing in paying someone to take this work on, but be sure to find someone you trust. This is your brand and ideally, you will want to work with someone who understands the industry.
Have an attractive and informative brand website. This is related to the social media point above. By having a strong and beautiful web presence, retailers can feel confident that you're taking the brand seriously. When it comes to information, particularly in the natural space, retailers would rather not have to hunt down critical information. Having complete ingredient listings and product descriptions are vital. One of the requirements for a brand to be listed on Opal Avenue (a first of its kind online retailer-to-brand connector) is that it must use verified safe ingredients and disclose full ingredient lists on the brand's individual product pages. Retailers (as well as conscious consumers) must have this information readily available so they can make quick and informed purchasing decisions. Any other information about you and your brand story can further enhance your connection with retail buyers on Opal Avenue and beyond.
Respond to your emails in a timely manner. Do whatever you can to respond to emails quickly (ideally within 24 hours or less). If you're on vacation or swamped with production, set up an out of office email so they know they when they can expect a response. It's important to make sure that retailers know you're on top of your business and communicating in a professional manner is key. Retail buyers tend to work within strict product consideration timelines. Purchasing needs can change FAST. Don't miss a great opportunity by not responding promptly.
Be prepared. You'll need to set wholesale policies and requirements for your brand so retailers can immediately understand what it will take to work with you. This information also serves to help them determine if you are a good fit for their stores. Set your wholesale minimums, case quantities per item (if desired), wholesale pricing and margins, payment terms, shipping procedures, and important online resale policies such as MAP (Minimum Advertised Pricing). This creates a base foundation with which to initiate retail relationships. It's also never too early to have a tentative plan for scaling. You may not be working with a manufacturer yet, but you may want to start doing this initial research and have contacts in your back pocket for when that big order comes in.
Do your research on the market. Saying you want your products to be sold in every possible retail distribution channel can lead you down a frustrated and unfocused path. This is known as a "buckshot approach". The anticipation that you'll hit your mark by going in every direction. Where direct focus goes, energy flows. Get specific. Do you think your brand is better suited for natural grocery? Specialty or luxury retailers? Independent boutiques perhaps? Maybe they're best for spas, salons and wellness studios. Or a combination of the above? Understand why you want to get into a certain market and target your energy toward knowing that purchasing space and its needs really well. I recommend also finding out what reputable sales entities work within those retail channels and start a conversation. You may be surprised at what you learn from these professionals! And above all, show how your brand is unique. Make it loud and clear.
Get out there! It's time to connect with shops. There are many traditional ways to do this. Hiring a sales brokerage or firm can be an option if you have the bandwidth and budget to support their sales efforts on your behalf with consistent samples stock, printed marketing collateral, account support, and rep training. They become an active extension of your business (and staff count). You may want to hire a dedicated in-house sales assistant or be personally tasked with reaching out to buyers on your own. Historically, tradeshows and showrooms were the preferred option for both young and established brands to gain market exposure. It's no secret, however, that times are changing. Thanks to technology, there are now more cost-effective and streamlined ways to connect with the right opportunities at the right time. Targeted, online platforms like Opal Avenue can be an additional, evergreen, supplement to a brand's existing retailer connection efforts and enhance buyer visibility 24/7. 365 days a year. Making outreach less about cold solicitation and more about warm, mutual match-making. Regardless, set a realistic budget, timeline, and strategy. Operate with what works best for you. There is no one right answer for everyone. And most importantly, do what you can with what you have.


text:
Ptychadena trinodis es una especie  de anfibios de la familia Ranidae.

Distribución geográfica
Se encuentra en Camerún, República Centroafricana, Chad, República Democrática del Congo, Costa de Marfil, Gambia, Ghana, Guinea, Malí, Nigeria, Senegal y, posiblemente, a Benín, Burkina Faso, República del Congo, Guinea Bissau, Mauritania, Níger, Sierra Leona, Sudán y Togo.

Referencias

 Rödel, M.-O. & Amiet, J.-L. 2004.  Ptychadena trinodis.   2006 IUCN Red List of Threatened Species.

trinodis


text:
Kyla Mallett
Paris London Hong Kong is pleased to invite you to Personhood, an installation of new work by Vancouver-based artist Kyla Mallett. The exhibition opens with a reception for the artist on Friday, March 14th, from 6 – 9 pm.
Kyla Mallett has been researching, collecting and archiving second-hand self-help materials as a way to delve into the context and historical status of a popular, academically 'unsanctioned' discourse. The work uses this particular form of literary pop psychology to highlight a well-constructed promise of enlightenment and well being, while focusing on a cultural interest in the genre as a gesture of hope. Tempered by a healthy dose of skepticism about its transformative power, the work conflates and repositions this wobbly sphere of self-improvement and its role as a social convention.
Personhood features a series of recent prints that pull from the covers of several self-improvement texts popular in the '70s and '80s. By highlighting the language, typography and overall graphic design of this material, she creates images that feel like outdated posters for an industry of the most needful. In Personhood, we're confronted by a group of declarative—but often absurdist—statements positing elliptical messages about the nature of being. There is humor here but also a revealing sense of how our society fixates on the fixable.
On the occasion of the exhibition, Kyla Mallett has produced a special edition print to accompany the series featured in Personhood. The edition is limited and will be available at the opening reception.
Personhood is the first chapter of Slow Frequency.
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Frank DiCicco Associates is a Philadelphia-based public affairs consulting firm concentrating in public awareness and government relations.
With client goals in mind we not only contribute to a debate, but often change or start it, to reach a deliberate, methodical and purposeful conclusion.
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The MultiXtend f series was designed to be able to directly connect frequency sensors to CAN-enabled instruments. With the MultiXtend f you can increase the number of monitored frequency sensors attached to a MultiSystem. The MultiXtend f is available in two versions, either 1 or 4 inputs.


text:
Etranges Libellule | Aug 22, 2008 (EU)
Images(4)
Developer: Etranges Libellule
Publisher: Atari
Genre: Sports
Asterix's first foray into high-definition comes in the form of the Xbox360 version of Asterix at the Olympic Games, the game of the live-action movie, itself...
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Asterix at the Olympic Games Achievements (37)
Tug of War Winner (High)
Win the tug of war event in Olympic Mode on High difficulty to unlock this achievement.
All shields found
Find all the shields to unlock this achievement.
Free all the pigeons.
Open all the pigeon cages in the game to unlock this achievement.
Tug of War Winner (Medium)
Win the tug of war event in Olympic Mode on Medium difficulty.
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Win the king of the arena event in Olympic Mode on High difficulty to unlock this achievement.
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In the final chapter of the trilogy, players find Sypro teaming up with an unlikely ally - Cynder, his former enemy, to face his most challenging mission to date. As the Dark Master's evil envelopes the world like a plague, Spyro must fulfill his destiny and unlock the true power of the purple dragon within him to stop the Dark Master in his tracks..
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Grab your axe and jump off stage as you become an unlikely rock hero, fighting to save the planet from a zombie onslaught. ..
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Namco brings the hit series of Ace Combat to the Xbox 360 for it's 6th incarnation. Ace Combat 6: Fires of Liberation is the most robust Ace Combat game to date and will be a killer flight action game to own on the Xbox 360 this Holiday Season, "Makoto Iwai, Senior Vice President and COO of NAMCO BANDAI Games America Inc. said. "With..
Debuting worldwide for the first time today at the Microsoft X05 event in Amsterdam, Alone in the Dark will provide a complete next-generation, action-packed experience within a highly detailed, free-roaming environment, featuring a mixture of astonishing real-time physics and full environmental interaction. The game is being developed by Eden Game..
Ghostbusters is available for the Xbox 360, Windows PC, PLAYSTATION 3 computer entertainment system, PlayStation 2 computer entertainment system, Wii and Nintendo DS. In an exclusive deal for Europe and the PAL regions, the PLAYSTATION 3 system and PlayStation 2 system versions will launch on June 19th 2009 published by Sony Computer Ente..
Bullet Witch
This action adventure takes place in the exceedingly bleak near future of 2013. Civilization is on the brink of extinction after demons begin appearing on the earth, and the player wades into the fray as a witch named Alicia. ..
Test Drive Unlimited is the ultimate automotive experience for car and bike enthusiasts alike. Visit the most sophisticated car and bike dealers to purchase new vehicles or simply take them for a spin. Collect and trade rare performance parts and customize each vehicle to make it one-of-a-kind. Test Drive® Unlimited challenges players online to exp..
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Etranges Libellule
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Just show me the results!


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A mini origami diplodocus night light in green.
Power via USB cable or three AG13 batteries.
USB cable and batteries are included.
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A cute and quirky dinosaur lamp that kids and adults of all ages will love! With its unique origami shape and gentle glow, this battery powered LED night light is a sweet and stylish piece of nursery lighting that will both delight and soothe your kids. The blocky shape makes for a unique alternative to your everyday desk light, and the handy fact that you can either charge your light via included AG13 batteries or the included USB charger only makes this night light even more of a must-have.


text:
Mashed Radish
everyday etymology
Posted on October 2, 2015 Categories Uncategorized
Rowan County clerk Kim Davis has again grabbed headlines. As we learned after his historic visit to the United States, the Pontiff privately met with her and gave her two rosaries. Their sub rosa meeting raised many questions, including one for me: Why do we call it a rosary?
"Roses." Ball point pen on paper. Doodle by @andrescalo.
When Catholics pray the rosary, they recite a structured series of prayers contemplating important events – or "mysteries" – in the life of Jesus and his mother, Mary. The Oxford English Dictionary (OED) attests this usage in 1531, though Catholic tradition originates the practice in a vision of Mary by Saint Dominic in 1214.
For most, rosary probably evokes its particular prayer beads. These help devotees keep count of the prayer sequence, thereby freeing their minds to meditate on those mysteries. The OED attests this transferred rosary by 1548.
An earlier citation of rosary provides important clues to the development of the word. The OED cites rosarie as early as 1387: a "coin made in imitation of the silver penny of Edward I (1272-1307) by European mints." On one side of this counterfeit currency was a bust wearing a chaplet or garland, often made of flowers – especially roses. (Another counterfeit penny circulated in Ireland at this time was called a mitre, named for its imprint of this episcopal headgear.)
Rosary derives from the Latin rosārium. In Classical Latin, the word names a "rose garden," with its root, rosa, meaning "rose." In Medieval Latin, rosārium also named a "garland" as well as a "series of prayers" or the very "string of beads" we associate the word with today. A kind of garland wreathing the head, a chaplet also refers to a particular section of the rosary along with other devotional prayers aided by beads.
So, why roses? Well, the OED records rosary used as a title for a "book of devotion," especially including rosary prayers, in 1525. Medieval scholars note some important metaphors for art in the Middle Ages and antiquity. Writing, for instance, was likened to ploughing a field. Collecting poems or prayers, furthermore, was like cultivating a garden or arranging a bouquet. We see this in the etymology of the word anthology, which literally means "a gathering of flowers" in ancient Greek. Latin rendered this as a florilegium, meaning the same. So, a rosary is like a "garden" of prayers, as the Online Etymology Dictionary sums it up.
Of course, symbolic associations of roses in Catholicism certainly add strength to the connection between roses and Mary, prayers to whom constitute 53 of a rosary's beads. Philologist Eric Partridge notes that Medieval Latin used rosārium for a "rose garland for crowning the Virgin." The resemblance between a garland and a rosary – a string of beads does look like a string of flowers – may further strengthen the connection.
Today, many of us might have a different sort of rose in mind: Roseburg, home to a community college that was visited with a horrific mass shooting yesterday. This may leave many praying their rosaries, but we're going to need a lot more than prayers to do anything about gun violence.
m ∫ r ∫
Tagged Catholicism, English, etymology, Greek, Kim Davis, Latin, Mary, metaphor, Middle Ages, Pope Francis, prayer, religion, rosary, rose, Roseburg, UCC Shooting, word origins
Published by John Kelly
I'm Senior Research Editor at Dictionary.com, specializing in trending words, slang, and other intersections of lexicography and news and pop culture. Discover more @mashedradish.	View all posts by John Kelly
From "numb" to "nimble"
10 thoughts on "Rosary"
Are you familiar with the story of Juan Diego, his vision, the maiden, and the cloak of roses? Interesting to see the symbols/stories cross cultures/countries. https://en.wikipedia.org/wiki/Our_Lady_of_Guadalupe
I was not familiar with that particular Marian apparition, but thanks for sharing it. Its roses certainly add yet further depth to the rose symbolism.
Some say it was used by the priests to convert locals in Latin America. Lady of Guadalupe as she is called is quite revered and celebrated as the patron saint of Mexico and the Americas.Quite a party in her honor in Dec. there. Pope Paul canonized Diego. The Lady plays an important role in Mexico's nationalism and as a rallying point. Fascinating story. Always found the roses intriguing.
SarasFloored says:
As a word nerd, I so enjoy your posts! I am delighted that you choose words in the news to explore. Three cheers!
Sara, thanks so much!
youmnabouhadir says:
Very interesting and extremely well written. Thank you
abigailthecurious says:
Honestly, I loved your vocabulary! Great word choice and a great article.
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