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Thanks for staying to the end… hope you found what you were looking for regarding landing pages daily ui!!


text:
Belarus demonstrator: 'The worst was the screams'
A protest in the capital, Minsk, on 30 August 2020 (Photo: Natalia Rak/Flickr)
By Natalia Kaliada
London, 10. Sep 2020, 07:04
One night in August Sviatlana S. was grabbed by police when she was at a peaceful protest in Minsk calling for Belarusian president Alexander Lukashenko to step down.
Riot police threw her into a packed van and transported all of the people inside to a detention centre.
The author, Natalia Kaliada, founder of the Belarus Free Theatre, who now lives in London after being smuggled out of Minsk (Photo: Belarus Free Theatre on Twitter)
They next few days were hell. She was kept in three-by-four metre cell with 36 other women without access to food, water or a toilet. There was so little space they had to sleep in shifts.
If they asked for water a guard would come and throw freezing cold water on them. If they defecated on the floor the guards would threaten to shoot them. At times they would take some of the prisoners out into the yard, tell them they were going to be shot and leave them to stand there - before finally bringing them back to the cell.
The worst, however, were the screams. The men were being kept on the floor above and all through the night and day they could hear the screams of men being tortured.
When I spoke to Sviatlana after her release seven days later, she told me she would never forget the sound of those screams.
Such is the reality in Belarus as Lukashenko tries to maintain his grip on power after a falsified election.
The well-honed repressive state machine has been in overdrive and Russian security and propaganda experts have been flown in to expand those efforts.
Russia is willing to support Lukashenko because it is not in president Putin's interest to allow democracy to come to Belarus. A hybrid Russian intervention is already underway.
Like in Sviatlana's case, these efforts are meant to make people afraid. But after decades of rule by these tactics, they aren't working anymore. Each protest brings out unprecedented crowds.
Lukashenko has shown he will continue to double down on repression and Russia has shown it is willing support him. It is time for the EU to show maximum solidarity and support for the democratic protestors in Belarus.
As Lithuanian foreign minister Linas Linkevičius said last week, "it is not enough to judge, to assess, to condemn, there should be actions. We have to speed up."
By imposing their own sanctions, the Baltic states are doing just that.
Now is an unprecedented time when Belarus is in the news across the world and my phone is constantly ringing with activists and politicians trying to understand what is happening and what they can do.
West can do more
I want to tell you the same thing I tell them: people in the west and western governments can do much more than they think.
Heartfelt concerns from international allies and condemnation of mass human rights violations will not help much. A collective, strong stance by the EU is needed to allow for a peaceful transition of power in Belarus.
Grassroots activities can raise awareness and push for targeted sanctions. Targeted extended sanctions are urgently needed against those who falsified the election and participated in the ongoing violent repression. The EU can make those sanctions a reality.
I know people are capable of more than they think from my work with the Belarus Free Theatre that I co-founded.
We wanted to break the government's monopoly on culture and perform theatre that connected Belarus to the rest of the world and was more than just a government mouthpiece.
To do that we held our performances in people's homes where we knew the state couldn't suddenly deny us a venue.
Theatre as dissent
Homes were the one place Belarusians felt comfortable talking openly about politics, and as we turned homes into meeting places and stages, we also wanted to show Belarusians that there was more room for protest than they thought, and more people who thought like them.
With over a hundred thousand Belarusians coming out of the apartments like the ones we performed in and into the streets, it has been amazing how many of us there really are.
While Lukashenko is in power he will continue to use repressive measures to suppress protestors.
But the EU can stop Belarus from vanishing into the obscurity that has allowed Lukashenko to steal elections and stay in power before.
For those with political power and engagement, there is more that can be done, especially for Sviatlana S. and the some 7,000 people detained like her.
For weeks now, Belarusians have been compiling a crowdsourced list with the names of Belarusian officials responsible for the arrest, detention and torture of peaceful protestors.
More than declarations of concern, Belarusians need those people's names to be said, put on travel ban lists and to have their assets in the west frozen. Only then will these officials realise that saying they were just following Lukashenko's orders will not be enough to protect them.
In this crisis there are some things everyone can do - each according to her own ability. If people both inside and outside Belarus do what they can, they will be amazed by what they can accomplish.
With the EU's support, Belarus has a chance to shed its 'oldest dictatorship' title and become instead, the youngest democracy in Europe.
Natalia Kaliada is a political activist and founder of the Belarus Free Theatre. She now lives in exile in London.
Belarus: How EU states can help protesters get justice
Russia is very present in Belarus
How a women's revolution is testing Belarus dictator
EU diplomats on guard at Belarusian writer's home
How do you solve a problem like Lukashenko? Perhaps at the ICC
The beginning of the end for Europe's last dictator
There are two avenues available for states to ensure that evidence of the abuses by Belarus authorities is collected, analysed, and preserved by impartial and independent international experts.
Many European politicians have praised Russia for keeping a neutral line toward developments in Belarus. However, this is not the case at all.
The largest mass protests in Belarus' history, unfolding right now, could be called a women's revolution.
EU diplomats are keeping a round-the-clock guard at the home of Svetlana Alexievich, the Belarusian writer and opposition activist, amid fears for her safety.
Alexander Lukashenko's administration has forced over 14,000 citizens to flee the country. This gives the International Criminal Court a sliver of a chance to hold the Belarus regime to account.
It is well known that Vladimir Putin has for a long time been deeply dissatisfied with Lukashenko. I consider it highly unlikely, though, that Putin will accept a democratic revolution in a neighbouring country.

redpajama_set_name: RedPajamaCommonCrawl


Asian Leadership Awards , September 25, 2011, Dubai Presented to International School of Business & Media, Pune The awards of the highest stature are presented to Institutions who have surpassed several levels of its excellence.
A.	We gave all government scholarships (as per the government rules) such as EBC/ Freeship for SC/ST/OBC/VJ/NT/SBC to the students. B.	ISB&M School of Technology Also offer scholarships for brilliant students interested in First Year Engineering on merit & need come basis. Sr. No.	Basis on	Eligibility	Scholarship	Number of Students 1	Merit	80% & Above in 12th Std.	20% on Tuition fee	*First 10 students 70% & Above in 12th Std.	10% on Tuition fee	*First 10 students 2	Need come Merit i)	60% & Above in 12th Std. ii) Income below 1 lakh per year	20% on Tuition fee	*First 5 students i)60% & Above in 12th Std. ii)Income below 2 lakh per year	10% on Tuition fee	*First 5 students Note: *conditions apply.


text:
IRAN TWISTING TIGERS TAIL
When Saddam Hussein announced that Iraq would be switching from USD to Euros in selling its oil, a Canadian Economics Columnist asserted that Saddam was signing his Death Warrant, because the oil interests behind the Bush Administration would not allow it to happen. The U.S. invasion of Iraq occurred during the next few months.
No sooner had America gained control of the Iraqi administration than it called for tenders to run the Iraqi Central Bank, and appointed a consortium from the J P Morgan and Chase Manhattan Banks to do the job, with no further mention of trading in Euros.
Not that the U.S. Banking Lobby was successful on its own; they had the full backing of the Oil Lobby as well. Opec had been under de facto U.S.
control ever since being established, and with Iraq switching to Euros , that would inevitably disconnect and make independent a major Opec oil supplier, so the interests of banking and oil control were in complete harmony.
On top of that, the Muslims, like many other religious groups around the world do not consider the assertion in the Christian Bible that God would eventually give the Jews for their Homeland, a big chunk of Palestine, a sufficient reason for the British and Americans to uproot the millions of Arabian Christians there and with armed force, help establish the State of Israel.
With Iran being a mainly Muslim country, and possessing much military muscle, the Zionist Jews in particular have been hoping for decades for a situation which could lead to Iran being militarily neutralised.
To the Zionists, an invasion of Iran incorporating an American "Shock and Awe" blitzkriegs like was delivered on Iraq would , metaphorically be, Just what the doctor ordered. Now by a remarkable coincidence, there are more people in the senior White House staff with Zionist connections, than with any other country, so guess what. Unless the American public fill the streets with protests about invading Iran, then it's a done deal.
Despite in many respects the U.S. Constitution being a good model, its Achilles Heel is that it does not provide any mechanism (apart from protest
rights) by which a President or the Government, can be stopped. This seems to be a perfect example of the need there for a "Swiss Initiative"
including the citizens' rights to petition for a binding referendum on any matter they consider important.
Without it, the world may again witness the pure , professional fabrication of excuses to justify destroying and invading Iran, just like what happened in in Iraq. Mary Rose has passed on the following Report, and we quote:
TEHRAN (AFP) - Iran has slashed the use of the dollar in payment for its oil exports to 15 percent, an official said on Tuesday, amid growing pressure from arch-foe the United States on its financial system. The vast majority of transactions for oil from OPEC's number two producer are now being carried out in euros, said Mohammad-Ali Khatibi, deputy head of the National Iranian Oil Company in charge of marketing.
"Iran is selling about 85 percent of its oil in the non-dollar currencies," Khatibi was quoted as saying by state television.
"Currently, about 65 percent of the oil sale income is in euros and 20 percent in yen," Khatibi added.
He also said that the remaining sums being paid in dollars, about 15 percent, are going to shift to "other creditworthy currencies".
Khatibi also cited the United Arab Emirates dirham as one other possible currency for use in oil transactions.
He said the main reason for the move was fluctuations of the dollar on the currency markets and the depreciation of its value since 2004.
Iran, the world's fourth largest oil exporter, has massively cut down its dependence on the dollar in the face of US pressures.
The United States has been seeking to make international banking transactions harder for Iran, as another tool to pressure Tehran into backing down over its controversial nuclear programme.
Several European banks have drastically cut business with Iran as a result of US pressure.
However despite problems with inflation and unemployment at home, Iran's economy is being helped by revenue windfalls from current high crude oil prices.
Iran's foreign currency reserves held in banks abroad have risen by 37 percent over the past year to the equivalent of 65 billion dollars as of the end of June 2007, the central bank said in September.
OUR COMMENTS: What a wonderful opportunity for Presidential Candidate, Dr. Ron Paul, to announce on TV that he will introduce legislation to Congress that would give American Citizens the constitutional right to use a lasso or legrope to bring down rogues with dictatorial ambitions ?
We acknowledge this will create a conflict of interest for Dr Paul. Can his urge to protect the integrity of the American State outweigh the control which his Republican Party has over him ?
ELECTRONZ - 740
Weekly international Ezine focusing on the New Economics


text:
using content::BrowserThread;

class ChromeURLRequestContextFactory {
 public:
  ChromeURLRequestContextFactory() {}
  virtual ~ChromeURLRequestContextFactory() {}

  // Called to create a new instance (will only be called once).
  virtual ChromeURLRequestContext* Create() = 0;

 protected:
  DISALLOW_COPY_AND_ASSIGN(ChromeURLRequestContextFactory);
};

namespace {

// ----------------------------------------------------------------------------
// Helper factories
// ----------------------------------------------------------------------------

// Factory that creates the main ChromeURLRequestContext.
class FactoryForMain : public ChromeURLRequestContextFactory {
 public:
  explicit FactoryForMain(const ProfileIOData* profile_io_data)
      : profile_io_data_(profile_io_data) {}

  virtual ChromeURLRequestContext* Create() OVERRIDE {
    return profile_io_data_->GetMainRequestContext();
  }

 private:
  const ProfileIOData* const profile_io_data_;
};

// Factory that creates the ChromeURLRequestContext for extensions.
class FactoryForExtensions : public ChromeURLRequestContextFactory {
 public:
  explicit FactoryForExtensions(const ProfileIOData* profile_io_data)
      : profile_io_data_(profile_io_data) {}

  virtual ChromeURLRequestContext* Create() OVERRIDE {
    return profile_io_data_->GetExtensionsRequestContext();
  }

 private:
  const ProfileIOData* const profile_io_data_;
};

// Factory that creates the ChromeURLRequestContext for a given isolated app.
class FactoryForIsolatedApp : public ChromeURLRequestContextFactory {
 public:
  FactoryForIsolatedApp(const ProfileIOData* profile_io_data,
                        const StoragePartitionDescriptor& partition_descriptor,
                        ChromeURLRequestContextGetter* main_context,
                        scoped_ptr<net::URLRequestJobFactory::Interceptor>
                            protocol_handler_interceptor)
      : profile_io_data_(profile_io_data),
        partition_descriptor_(partition_descriptor),
        main_request_context_getter_(main_context),
        protocol_handler_interceptor_(protocol_handler_interceptor.Pass()) {}

  virtual ChromeURLRequestContext* Create() OVERRIDE {
    // We will copy most of the state from the main request context.
    //
    // Note that this factory is one-shot.  After Create() is called once, the
    // factory is actually destroyed. Thus it is safe to destructively pass
    // state onwards.
    return profile_io_data_->GetIsolatedAppRequestContext(
        main_request_context_getter_->GetIOContext(), partition_descriptor_,
        protocol_handler_interceptor_.Pass());
  }

 private:
  const ProfileIOData* const profile_io_data_;
  const StoragePartitionDescriptor partition_descriptor_;
  scoped_refptr<ChromeURLRequestContextGetter>
      main_request_context_getter_;
  scoped_ptr<net::URLRequestJobFactory::Interceptor>
      protocol_handler_interceptor_;
};

// Factory that creates the media ChromeURLRequestContext for a given isolated
// app.  The media context is based on the corresponding isolated app's context.
class FactoryForIsolatedMedia : public ChromeURLRequestContextFactory {
 public:
  FactoryForIsolatedMedia(
      const ProfileIOData* profile_io_data,
      const StoragePartitionDescriptor& partition_descriptor,
      ChromeURLRequestContextGetter* app_context)
    : profile_io_data_(profile_io_data),
      partition_descriptor_(partition_descriptor),
      app_context_getter_(app_context) {}

  virtual ChromeURLRequestContext* Create() OVERRIDE {
    // We will copy most of the state from the corresopnding app's
    // request context. We expect to have the same lifetime as
    // the associated |app_context_getter_| so we can just reuse
    // all its backing objects, including the
    // |protocol_handler_interceptor|.  This is why the API
    // looks different from FactoryForIsolatedApp's.
    return profile_io_data_->GetIsolatedMediaRequestContext(
        app_context_getter_->GetIOContext(), partition_descriptor_);
  }

 private:
  const ProfileIOData* const profile_io_data_;
  const StoragePartitionDescriptor partition_descriptor_;
  scoped_refptr<ChromeURLRequestContextGetter> app_context_getter_;
};

// Factory that creates the ChromeURLRequestContext for media.
class FactoryForMedia : public ChromeURLRequestContextFactory {
 public:
  explicit FactoryForMedia(const ProfileIOData* profile_io_data)
      : profile_io_data_(profile_io_data) {
  }

  virtual ChromeURLRequestContext* Create() OVERRIDE {
    return profile_io_data_->GetMediaRequestContext();
  }

 private:
  const ProfileIOData* const profile_io_data_;
};

}  // namespace

// ----------------------------------------------------------------------------
// ChromeURLRequestContextGetter
// ----------------------------------------------------------------------------

ChromeURLRequestContextGetter::ChromeURLRequestContextGetter(
    ChromeURLRequestContextFactory* factory)
    : factory_(factory) {
  DCHECK(factory);
}

ChromeURLRequestContextGetter::~ChromeURLRequestContextGetter() {}

// Lazily create a ChromeURLRequestContext using our factory.
net::URLRequestContext* ChromeURLRequestContextGetter::GetURLRequestContext() {
  DCHECK(BrowserThread::CurrentlyOn(BrowserThread::IO));

  if (!url_request_context_) {
    DCHECK(factory_.get());
    url_request_context_ = factory_->Create()->GetWeakPtr();
    factory_.reset();
  }

  // Should not be NULL, unless we're trying to use the URLRequestContextGetter
  // after the Profile has already been deleted.
  CHECK(url_request_context_.get());

  return url_request_context_;
}

scoped_refptr<base::SingleThreadTaskRunner>
ChromeURLRequestContextGetter::GetNetworkTaskRunner() const {
  return BrowserThread::GetMessageLoopProxyForThread(BrowserThread::IO);
}

// static
ChromeURLRequestContextGetter* ChromeURLRequestContextGetter::CreateOriginal(
    Profile* profile,
    const ProfileIOData* profile_io_data) {
  DCHECK(!profile->IsOffTheRecord());
  return new ChromeURLRequestContextGetter(
      new FactoryForMain(profile_io_data));
}

// static
ChromeURLRequestContextGetter*
ChromeURLRequestContextGetter::CreateOriginalForMedia(
    Profile* profile, const ProfileIOData* profile_io_data) {
  DCHECK(!profile->IsOffTheRecord());
  return new ChromeURLRequestContextGetter(
      new FactoryForMedia(profile_io_data));
}

// static
ChromeURLRequestContextGetter*
ChromeURLRequestContextGetter::CreateOriginalForExtensions(
    Profile* profile, const ProfileIOData* profile_io_data) {
  DCHECK(!profile->IsOffTheRecord());
  return new ChromeURLRequestContextGetter(
      new FactoryForExtensions(profile_io_data));
}

// static
ChromeURLRequestContextGetter*
ChromeURLRequestContextGetter::CreateOriginalForIsolatedApp(
    Profile* profile,
    const ProfileIOData* profile_io_data,
    const StoragePartitionDescriptor& partition_descriptor,
    scoped_ptr<net::URLRequestJobFactory::Interceptor>
        protocol_handler_interceptor) {
  DCHECK(!profile->IsOffTheRecord());
  ChromeURLRequestContextGetter* main_context =
      static_cast<ChromeURLRequestContextGetter*>(profile->GetRequestContext());
  return new ChromeURLRequestContextGetter(
      new FactoryForIsolatedApp(profile_io_data, partition_descriptor,
           main_context, protocol_handler_interceptor.Pass()));
}

// static
ChromeURLRequestContextGetter*
ChromeURLRequestContextGetter::CreateOriginalForIsolatedMedia(
    Profile* profile,
    ChromeURLRequestContextGetter* app_context,
    const ProfileIOData* profile_io_data,
    const StoragePartitionDescriptor& partition_descriptor) {
  DCHECK(!profile->IsOffTheRecord());
  return new ChromeURLRequestContextGetter(
      new FactoryForIsolatedMedia(
          profile_io_data, partition_descriptor, app_context));
}

// static
ChromeURLRequestContextGetter*
ChromeURLRequestContextGetter::CreateOffTheRecord(
    Profile* profile, const ProfileIOData* profile_io_data) {
  DCHECK(profile->IsOffTheRecord());
  return new ChromeURLRequestContextGetter(
      new FactoryForMain(profile_io_data));
}

// static
ChromeURLRequestContextGetter*
ChromeURLRequestContextGetter::CreateOffTheRecordForExtensions(
    Profile* profile, const ProfileIOData* profile_io_data) {
  DCHECK(profile->IsOffTheRecord());
  return new ChromeURLRequestContextGetter(
      new FactoryForExtensions(profile_io_data));
}

// static
ChromeURLRequestContextGetter*
ChromeURLRequestContextGetter::CreateOffTheRecordForIsolatedApp(
    Profile* profile,
    const ProfileIOData* profile_io_data,
    const StoragePartitionDescriptor& partition_descriptor,
    scoped_ptr<net::URLRequestJobFactory::Interceptor>
        protocol_handler_interceptor) {
  DCHECK(profile->IsOffTheRecord());
  ChromeURLRequestContextGetter* main_context =
      static_cast<ChromeURLRequestContextGetter*>(profile->GetRequestContext());
  return new ChromeURLRequestContextGetter(
      new FactoryForIsolatedApp(profile_io_data, partition_descriptor,
          main_context, protocol_handler_interceptor.Pass()));
}

// ----------------------------------------------------------------------------
// ChromeURLRequestContext
// ----------------------------------------------------------------------------

ChromeURLRequestContext::ChromeURLRequestContext(
    ContextType type,
    chrome_browser_net::LoadTimeStats* load_time_stats)
    : ALLOW_THIS_IN_INITIALIZER_LIST(weak_factory_(this)),
      chrome_url_data_manager_backend_(NULL),
      is_incognito_(false),
      load_time_stats_(load_time_stats) {
  DCHECK(BrowserThread::CurrentlyOn(BrowserThread::IO));
  if (load_time_stats_)
    load_time_stats_->RegisterURLRequestContext(this, type);
}

ChromeURLRequestContext::~ChromeURLRequestContext() {
  DCHECK(BrowserThread::CurrentlyOn(BrowserThread::IO));
  if (load_time_stats_)
    load_time_stats_->UnregisterURLRequestContext(this);
}

void ChromeURLRequestContext::CopyFrom(ChromeURLRequestContext* other) {
  URLRequestContext::CopyFrom(other);

  // Copy ChromeURLRequestContext parameters.
  // ChromeURLDataManagerBackend is unique per context.
  set_is_incognito(other->is_incognito());
}

ChromeURLDataManagerBackend*
ChromeURLRequestContext::chrome_url_data_manager_backend() const {
    return chrome_url_data_manager_backend_;
}

void ChromeURLRequestContext::set_chrome_url_data_manager_backend(
        ChromeURLDataManagerBackend* backend) {
  DCHECK(backend);
  chrome_url_data_manager_backend_ = backend;
}

redpajama_set_name: RedPajamaGithub


John sat in his sterile office pod and listened to Wagner.
It was Saturday Night and every other cubicle in the sprawling office was righteously empty and dimmed. Only his desktop lamp shone out into the gloom.
He had 'Live From the Met' on the radio and, although the bulk of the music washed past him, it still seemed to give him a sense of his own intelligence as he listened to it.
This week it was 'Tristan and Isolde'. His favourite part was always the applause that came right at the end. On and on it thundered, like some hugely expensive release in a hugely expensive brothel.
Of course he should have been at home with his family but this was the third Saturday night in a row that he had perched here, alone in his computer-buzzing office space. The documents had to arrive on the other side of the world at this particular time and automation simply could not be trusted. There was no other way acceptable to that terse little man who resided in the end-room during normal office hours. John simply had to come in and get it done.
The pdf files were being generated now so there was really nothing else that he had to do. He sat back and tried to focus on the music. He tried to guess if the applause was coming any time soon. It felt like there was still quite a way to go.
He shivered involuntarily and reached for his long-cold coffee. As with the other two Saturday nights he had sat here, he could not shake the feeling that he was being watched. There was nobody else in the building but still his spine was telling him that he was being scrutinised. Not just by a single person either but rather by a group, a cohort, a team.
He effected another shiver to try to revive himself. There was nobody watching. Late evening, self pity, paranoia, that was all. This would hopefully be the last Saturday he would have to come in and do this. He could live without any more Wagner at The Met, even the applause.
There it was again though. The feeling. Someone was watching him, he was sure of it.
His attention fell on the ceiling-mounted security camera at the far end of the room. There was a small unwavering red light on top of it and it was pointed straight at him, like an eye. That was it, wasn't it? It was the security camera that was watching him. He had investigated it last week, found the cupboard where the footage from the camera was recorded onto a loop tape. Nobody ever monitored it, nobody ever looked at it, it was just a souvenir from a more buoyant time when people seemed to care about such things. It might be capturing him, recording him even, but nobody was watching it. Nobody cared.
Still a small worm-thought wriggled and turned in the recesses of his mind. Something he had read once. Something about security cameras being secretly accessed by people via the Internet. Weren't the images of certain cameras being unwittingly beamed onto the web and couldn't people log into them simply by chasing them down in Google?
The pdfs were still cooking, he had some time to kill. He went onto Google and entered 'network camera' and hit the search button. There wasn't much there but there was a link to a link to another link and, suddenly, he was watching an office scene via some monochrome webcam. An office not unlike his own. Except this one was vacant, the occupant doubtless out on some Saturday Night Spree or sitting at home by the fire watching some fine old movie.
He looked up at his own camera.
Could someone be watching him over the Internet?
Over in the corner, beside the water cooler, there was a flipchart with some spare sheets of large white paper still clipped to it. There were some permanent markers too. He dragged it over to where he thought the camera might see it. What to write? After a moment, he figured it out. Open a line of communication.
His email address. He wrote it clearly so that anyone could see it.
He slid his chair back over to his desk and logged into his email account. There was nothing there. Nothing new.
One, two, three, four, five emails clicked into his inbox. Six, seven, eight, the number steady ticking upward like a metronome.
He opened the first of the emails.
The second said, "Hello dear." The third said nothing at all.
All of the emails offered either some bland non-committal greeting or else pure blank silence. All from different addresses made up of random numbers and letters. On and on, the number ticked upwards. They didn't stop.
The next email he clicked on gave him an answer.
"We Are Legion." It said.
The next email said exactly the same thing and the next and the next and the next.
Another sheet and another sweatily-scrawled query.
The emails stopped. At seventy two, they stopped. It was as if the faceless correspondents had paused to consider the request.
Wagner was drawing to a close, he could sense it, behind all the dread.
"What do you want?" He wrote, a second time.
The emails started again. Click, click, click. Seventy three, seventy four, seventy five… they all said the same thing.
John sat back and stared at the screen.
He would not dance. It was too wrong, it was far too wrong.
Wagner's music ended. The radio audience rose in united, colossal, thunderous applause.
The five hundredth email clicked in.
brilliant, loved it, thank you!
Enjoyed this. It could've gone a few different ways. A large part of Left takes place via chat but only one side has a camera. It's an uncomfortable position to be in. Interestingly the one who's the most uncomfortable is the one who can see the other. I like the open-endedness of this piece of yours. It can be overdone—I have a friend who posts a lot of flash pieces and they're always open-ended—but one or two every now and then works. I still remember the ending to 'The Nine Billion Names of God' and it's been years since I read it. I just thought it was such a wonderful way to end the piece. I know a lot of people don't like them—they feel cheated—when the writer tosses the ball (or, maybe, the grenade) into their lap and leaves them with it but it all depends on how much you've left your reader to do to complete the story how effective the technique it. You don't have to do all the work. I actually think it's bad writing to try to.
'Another lovely piece Ken. You were there, on your PC, writing this. I am watching and reading. It may not be in "real time," but there is a certain irony in that.
Intriguing. I really liked it. Many thanks.


Yes, cue the collective copyright librarian shudder.
I shared with them some information (information, mind you, not legal advice) about fair use and the necessity of considering all four factors. I told them a bit about current best practices in academia, how small changes in their strategy—such as posting links to OA versions of the articles if they exist or curating a bibliography of citations—may be more effective. I talked a bit about licenses and how even with fair use, posting these materials could violate institutional contracts with publishers. I also mentioned that, from a discovery perspective, their long list of PDFs was a bit of a burden for researchers looking for these materials and suggested they work with a metadata and discovery librarian to better organize the work. I'm pretty sure I mentioned Georgia State and Sci-Hub a few times (for different reasons, of course).
As is often the case with doling out unsolicited information (not advice), there was a bit of pushback. And complaints. All of which made me reflect on this new trend that seems to have arisen in which scholars randomly decide they will "revolutionize" academic publishing unilaterally by flouting copyright law and contractual agreements to distribute others' work Robin Hood-style.
The key here, at least for me in my frustration, is that this revolution almost always involves someone else's work. These so-called revolutionary scholars are ever interested in liberating scholarship to which they want access while still signing away rights to their own work and rarely, if ever, deigning to post green open versions of their work in institutional repositories.
Don't get me wrong. Our current system of academic publishing needs revolutionizing. But that isn't going to happen with individual scholars breaking the law and exercising rights that more appropriately belong to others.
Funders in the U.S. and abroad have started requiring public access to the research they fund.
Collaborative, cost-sharing initiatives like Open Access Network to help transform the way scholarly publishing is funded.
Interoperability and discovery efforts, like that of Share, to facilitate the sharing of metadata across repositories.
The creation of new discipline repositories, like SocArXiv, and the improvement of existing repositories, like ArXiv, to better ensure access to knowledge.
These efforts have been difficult and they take time, yet slowly and surely we're gaining ground.
For scholars truly interested in revolutionizing scholarly publishing, get involved with these efforts. Touch base with your scholarly communications experts and share your experience and expertise. Rather than attempting to "break down the master's house" by stealing the master's tools and giving them out for free, let's work together to build our own tools.
And finally, speaking of houses, make certain that you begin the revolution in your own house. Publish your work in an open access journal or ensure that you post your manuscripts in an institutional or discipline repository. Negotiate your publishing agreements and fight for your rights as author so that you are able to do just that.
Engage in legal practices to liberate your own work. Then, join already-existing efforts to liberate scholarly publishing for everyone.
Great suggestions, April. You could also include encouraging non-profit academic publishers to utilize open access models to make scholarship freely available worldwide. Librarians, libraries, and library consortia can provide the infrastructure and expertise.
April, I would point to a similar dynamic on a larger scale, which is when societies/journal boards choose to link arms with a for-profit publisher who can guarantee their journal the highest amount of income. In an environment of permanent austerity, no one can begrudge an academic society or department the chance to increase revenue. And I am acutely aware of how publishers add value. But it strikes me as inconsistent to make the choice to maximize revenue for your project (or your journal, or your department), and then ask others to make the harder choice of publishing OA.


text:
Colored Zircon Grillz
Made from Stainless steel as it is a highly durable metal, allowing it to withstand the wear and tear of everyday activities, which can otherwise damage a ring. The hard metal resists scratches and corrosion thanks to an invisible layer of chromium that prevents oxidation; this makes it a wonder metal of choice for body jewelry
finished off with a thin layer white gold (platinum).
Swarovski Cubic zirconia (also known as CZ) is similar to a diamond with its brilliance and crystal clarity, but it is a synthesized (man-made) crystalline material that is colorless, hard, and flawless. It looks so much like a diamond, it is an affordable alternative to diamonds.
Size: adjustable with silicon base mold
This piece is manufactured in Atlanta, Georgia, USA and packaged here in Cairo, Egypt.
Swarovski zircon AAA crystals
Stainless steal
Dipped in white gold
Water and dustproof
© 2021, VVS Enterprise


text:
FG releases data of escaped inmates from Oyo prison
The Nigerian Correctional Service has released the names and pictures of inmates who escaped from the Medium Security Custodial Centre, Oyo.
The facility was attacked by some hoodlums on October 22 and hundreds of inmates were set free.
The data of those who escaped from the prison were released by the NcS on Friday.
A note beside the data read, "Names and faces of wanted persons who escaped from the Oyo Custodial Centre on Friday 22nd October, 2021.
"Please note that these persons are dangerous! Kindly contact the nearest police station or security agency close to you when you sight any of these persons. Note: It is a crime punishable under the law to render any form of assistance to these persons."
The Public Relations Officer of the NcS, Oyo State Command, Olanrewaju Anjorin, confirmed the release of the data.
He said, "Yes, it was released by the Nigerian Correctional Service; the data of those who escaped from Oyo Custodial Centre."
The Minister of Interior, Rauf Aregbesola, who visited the facility to assess the damage done to it last Sunday, had vowed that all the fleeing inmates would be brought back dead or alive.
He said their data were being forwarded to the Interpol and border posts all over the work to stop them from going into other countries.
EFCC speaks on alleged search of Justice Odili's home
Why FG has not declared bandits terrorists – Defence Minister


text:
2019 Cannes, Cannes, Site Updates
Well, the title says it all. The Palme d'Or lineup has gathered a lot of media attention, but one of the joy in Cannes is that they have varied choices beyond that, many of them take us by surprise and gain more traction as the year goes. This year is no exception as there are plenty titles worth raving about. With this list, let's see some alternatives from the big titles that rarely get cover anywhere else, from wide range of medium, genres from all over the world.
note: there are 2 films that were originally on my watchlist but I couldn't find the time to watch. Sight-unseen mention to The Lighthouse (Director's Fortnight) and the animated feature The Bears' Famous Invasion of Sicily (Un Certain Regard)
10) For Sama (Special Screening)
It's already remarkable that For Sama got made at all. The director, Waad Al Kateab is an activist and one of the key members of Syria resistance, where her husband stays and opens a hospital. As the result the film is a true record of what is happening in Syria right now. There are many heartbreaking scenes, where people's lives, especially kids' are always hanging by their threads. But there are moments of hope as well, as the victims make it out alive. There are constant bombings, as we see multiple times during the film, and many get hit and died even before they know it. Not only an account of Syria's lives, For Sama, as a title depicts, is a personal film that Al Kateab makes for her born-in-the-battlefield daughter, and addresses the sensitive fact on why she and her husband decide to keep her daughter by their sides, even if they know it'd be dangerous for her. The film also touches on the city Aleppo, about the pride of those who remain to stay because it's their root. It's a remarkable film by all counts.
9) Nina Wu (Un Certain Regard)
Nina Wu is a meaty, part-satire, part-critical look at the acting industry in China. Reportedly, the project sees its light when the lead actress, Wu Ke-si, pitched the director Midi Z about the story back in Berlin 2018. It's the earlier film-within-the-film that the film shines the most. Creative, playful and a big showcase for the demanding acting of its lead. The film slips later on when it tries to dramatize Nina real life's struggle with the mind-numbling revealing that for me sucks out the fun of it. This is one of the rare instance where keeping the tone light would be a sharper tool to critique the state of Chinese acting industry. It attempts at #metoo movement but become too obvious by the time the credit rolls.
8) The Orphanage (Directors' Fortnight)
Shahrbanoo Sadat (previous won the very selection Top Prize in 2016 with Wolf and Sheep), returns to this section again about the orphanage right before the invasion of Muslim rulers. It's an uneven film to say the least. While the large part of the film details the lives of these school kids adjusting to the orphanage (and successfully doing so), sometimes it would mix with musical sequences that are tonal whiplash to the rest of the movie. The non-professional actors play their part naturally, which is important and the film somewhat succeeds in bringing the atmosphere of the bygone era before the country changes rapidly. It's still a solid film, but is minor compare to her 2016 film.
7) Vivarium (International Critics' Week)
Along with 6) below, Vivarium benefits from its fresh concept, but unfortunately it runs out of its welcome at the end. The said concept is about a couple (played by Imogen Poots and Jesse Eisenberg) who find themselves literally unable to get out of a mysterious house. While its Kafkaquese premise is indeed intriguing, the material really stretches thin for a feature-length film. On a positive note, every time Vavarium plants some twists, they're rock! The absurdness of the situation is heightened by the committed performances from its leads. The film itself is too small to become a breakthrough hit, but that doesn't mean it doesn't try. Vivarium is one twisty, funny and dry lo-fi.
6) Deerskin (Directors' Fortnight)
If Vivarium succeeds on its absurd premise, Deerskin's entire film plays squarely on its one madness concept: a guy (played by Jean Durjadin) becomes obsessed with his jacket that he kills people so that his jacket can become the only one. It's a tall order indeed. Dujardin is 100% committed to the character, and his charm is more than enough to make this offbeat story works in the first place. But the main credit has to be Quentin Dupieux, who is in total game of making this lucid concept as far as possible. The filmmaking subplot doesn't work as well, and I feel the ending wraps up a bit to abruptly, but the power of this strange work is there. It's no masterpiece, but if you look for films that offers something fresh and funny along the way, then Deerskin has you covered.
5) The Halt (Directors' Fortnight)
The Halt marks my first encounter to Lav Diaz films, and words from the street is that this is one of his most straight-forward film, and one of his shortest film, with only 4 and a half hour in length. By the end of it, I'm not totally impressed with the final product, but there are some genuine can be found through the picture. The very setting is intriguing, for example. Set in a near-futurist world where the volcano erupt causes the whole Southeast Asia living in dark, hence the B & W photography. The film does little to that setting, though, with only camera drones swarming around the city in place for actual police officers, the rest looks like Phillipines today. Many other plot threads are interesting in concept: a History teacher who moonlights as a silent hooker, a woman who develops her thirst for blood after she witnesses a shooting, the orphanage too poor that it becomes normal when they burn corpses of the deceased every night, a dictator who turns out to be a whimpy… they are all neat details here, but they are either buried by several long takes or become repetitive (especially with the case of the dictator). All the developments, in addition, don't reach its full potential, but taken as a whole The halt is still an impressive piece of work, and partly work as his most political charge to date.
4) Lux Æterna (Midnight Screening)
Doesn't matter if this one is intended to be a commercial, doesn't matter if it is only 50 minutes in length, Gaspar Noe delivers again another visceral experience of a shoot goes horribly wrong. There's many things to love here: from the improv dialogues provided by its characters, to its split screen technique, to the outright disorienting last few minutes, he's in total control of provoking viewers visceral feeling like none other. It also works as satire of film production. Lux Æterna might be short in length, but it's certainly not short in its ambition.
3) Zombi Child (Directors' Fortnight)
Out of everything that screen outside of Palme d'Or, Zombi Child might be the closest shot of just barely missing the Main Competition. Directed by Bertrand Bonello, it's another solid entry in his filmography, not too mainstream, but not too art-house either. The film splits into two main plot-lines, one set in Haiti in 1960s, the other one is in current day in a totally-white France, and much later on should we see how these stories interconnect with each other. The main subject matter is similar to another entry for Directors' Fortnight (Sick, Sick, Sick), but it still does a fine job of addressing voodoo practice in a completely different angle. The ending might not work narratively, but thematically it fits well. I'm pretty sure this film will fare better than other French entries in the Main Competition, namely Oh Mercy and the disaster Mektoub. Here's hoping he will be back in the top game of Croisette again.
2)The Invisible Life of Eurídice Gusmão (Un Certain Regard)
Fun little note, I was groaning how the Un Certain Regard this year is underwhelmed with the films I hd watched (around 5-6 films), until the Jury members awarded all the films I haven't watched or even aware of. ( I blame bad luck for that). Watching this film, which is the winner of Un Certain Regard sidebar, I must report that I'm totally happy with it winning the top prize. The film examines the relationship between the sisters with hearts, fun and some genuine emotions. I attribute its success to the acting first and foremost, as the two performances bring out the complexity of the characters through many stages, and especially sold out well the chemistry between them. Then the story works because it's both bittersweet and funny at the same time. As these girls go through their lives (sometimes horribly), the film sips harder because they don't over-dramatize these moments, instead they make it wittily. The screenplay smartly interweaves the girls' lives, sometimes because they go through the same experiences. It's a pretty good choice for the new crown of Un Certain Regard.
1) I Lost My Body (International Critics' Week)
While I Lost My Body was on my to-watch list prior to coming here, the film still takes me by surprise just how well crafted it is. Production-wise, it carries the theme by its strong direction and clear visual, story-wise it's an intimate story about a guy who doesn't know what to do with his life. Character-wise, I'm also drawn into them and the side plots interweave neatly. While this might not become as big of a hit like say, The Red Turtle last few years, it's a goddamn solid one that would be in conversation for years to come.
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Another bold looking wedding ring made in black and gunmetal color tungsten carbide. This ring is black with a gunmetal colored stripe in the middle of the flat part. It has beveled edges and the whole ring is finished in high polish finish. For those look like contemporary men's jewelry, go with the black trend. The durability of black tungsten of this ring is unmatched by gold or even stainless steel jewelry. Both the black rhodium on gold jewelry or the black ionic plating on stainless steel jewelry will eventually scratch off. The black part of this ring is not created with plating and it is a solid black ring all the way through. This ring is also offered in reversed coloring.


The keynote sessions are open to all badge types. Click the link below to view keynotes from our previous show. This will be updated for 2020 when registration opens.
See below for 2019 keynotes. Please stay tuned for keynote sessions coming up in 2020!
Environments for Aging magazine will celebrate the winners of its annual Design Showcase and Remodel/Renovation Competition awards programs during this luncheon, open to all attendees. New this year, the winners of EFA's inaugural Design Champions awards programs will also be honored.
This year, Environments for Aging magazine launched a new competition, Design Champions, to celebrate individuals who work each day to push the boundaries of senior living design and improve environments for aging. Join this esteemed panel of the 2018 winners for a discussion on what it takes to move senior living forward and make a meaningful improvement in the lives of residents, staff, and the greater community.


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Q: Inserting "String" variable inside a given String in C I have a function, which has a String Parameter:
function(char str[3]){
 //here i want to insert the string Parameter str
 f = open("/d1/d2/d3/test"+str+"/d2.xyz")
}

I am trying to "insert" the String parameter into the given String path. How can I do this in C?

A: The typical way would be to create a new string by piecing together the three pieces. One way do to this would be the following (shamelessly stolen from the @chux comment):
char buf[1000];
sprintf(buf, "/d1/d2/d3/test%s/d2.xyz", str);

But before you go that route you need to ensure you really understand the printf family of functions as they are a common source of security related errors. For example, my buf size is large enough for your example, but certainly not for a general solution. Instead the sizes of the input strings would need to be taken into account to ensure the output buffer is large enough.

redpajama_set_name: RedPajamaStackExchange


"For so long the tech companies have said we can't even talk about Section 230. Well, yes, we can. And we should. And we need to," @HawleyMO tells @Politico referring to the Communications Decency Act. @NRBAssociation agrees.
A Google spokesperson explained to Fox News that its "Knowledge Graph" analyzed web content on @UnplannedMovie and that a large volume of it described the film as propaganda and placed the label without a universal consensus.
Founded in 1944 to combat censorship on radio airwaves, National Religious Broadcasters (@NRBAssociation) now raises concerns of similar issues online, reports @JoshMShep for @StreamDotOrg.
.@HawleyMo to Twitter and Facebook executives: "This hearing shows you're anything but transparent, and you apparently have no interest in becoming more transparent. This is a huge, huge problem."
These are the kinds of proposals that could keep Silicon Valley companies up at night — as they would fundamentally alter how the companies operate today.
@Youtube has placed our video of @RealCandaceO's testimony before the House Judiciary Committee in restricted mode.
Why is Youtube trying to prevent people from hearing Candace's words?
"This is the third time a Facebook property has tried to silence me without any justification. … It just keeps happening. And it only seems to happen to conservatives," @Adam4d tells @Tyler2Oneil.
In the end, Facebook just doesn't get the First Amendment. And when a powerful corporation proposes censorship regimes that would violate our fundamental rights, it's important that we call it out.
The company has given in to the mentality of a rage mob. How can Google now expect conservatives to defend it against anti-business policies from the left that might threaten its very existence?
Google's Mr. Pichai told Congress last year that "even as we expand into new markets we never forget our American roots." Perhaps he should sponsor seminars for Google's employees on citizenship in a free society.
Amazon, Google and Facebook have not responded to TheDCNF's requests for comment regarding their ongoing affiliation with the SPLC, reports @DailyCaller.
Of course, everyone already knows that if the SPLC were on the political right instead of on the left, all related organizations and prominent supporters on left and right would long ago have publicly disavowed them.
In a letter to Twitter CEO @Jack Dorsey, freshman senator @HawleyMO (R., Mo.) called on the executive to allow a third-party audit of his social-media platform in light of recent accusations of bias against conservative users.
Google employees demand removal of @Heritage President @KayColesJames from advisory board, reports Washington Post's @Cat_Zakrzewski.
Like every crony capitalist who's ever tried to get government to do his job for him, Zuckerberg is attempting to both extricate himself from the responsibility of running his site and attempting to hurt the competition.
Social media companies have made a fortune because so much of their content is free and user-generated. But Saturday was a reminder that sometimes it's not at all user-friendly.
The pro-life movie @UnplannedMovie surprised at the box office its opening weekend, taking 5th place with $6.1 million. That didn't stop Twitter from attacking the film twice in one weekend, however.


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20 Places That Look Like They're On Another Planet
We can't help but fantasize about traveling to far and distant worlds. Luckily, our planet is full of surreal and otherworldly places that are just a plane ride away, from lunar valleys to underwater caves. This gallery was originally published in 2015. It has been updated with new information.
By Caitlin Morton
Wadi Rum, Jordan
This UNESCO World Heritage site in southern Jordan has a varied landscape of cliffs, caverns, narrow gorges, natural arches, and Mars-like red sand.
Fly Geyser, Black Rock Desert, Nevada
Fly Geyser was accidentally created when scalding water began erupting through a man-made well in 1964. Dissolved minerals developed the mount and terraces that now surround the geyser, which continues to grow and release water up to five feet in the air. And as for those alien-like colors? You can thank algae for that.
The Spotted Lake (Kliluk), Osoyoos, Canada
This strange lake in British Colombia's desert contains large amounts of minerals (including calcium and sodium sulfates). During the summer, when the water evaporates, the minerals are revealed in more than 300 separate pools, or "spots"—hence the lake's name.
Torri del Vajolet (Vajolet Towers), Dolomites, Italy
Aside from being extremely photogenic, these vertical peaks found in the Rosengarten group in the Dolomites are a frequent inclusion on rock climbers' bucket lists.
Painted Dunes of Lassen Volcanic National Park, California
The red and orange Painted Dunes, formed out of oxidized layers of volcanic ash, lie in the shadow of Cinder Cone volcano. The volcano (and subsequent dunes) were formed during eruptions that occurred in the 1650s.
Salar de Uyuni, Bolivia
The world's largest salt flat contains 10 billion tons of salt and covers more than 4,000 square miles—and it also happens to be one of the most beautiful places on earth.
Bromo Volcano, East Java, Indonesia
Mount Bromo is perhaps the most well-known volcano in East Java's Bromo Tengger Semeru National Park, thanks to its accessibility and epic sunrise views.
Lake Natron, Monduli, Tanzania
This salt lake sure is beautiful to look at, but its hellish 120-degree temperatures and dangerously low pH levels make it a less-than-ideal vacation spot. There is one major upside: The surplus of scarlet-hued algae attracts millions of flamingos, making the area one of the species' major breeding grounds.
Photo by Martin Rietze
Glowworm Caves, Waitomo, New Zealand
Leave it to New Zealand to make even worms look beautiful. The Waitomo Caves hold thousands of bioluminescent larvae that leave long strings of mucus (sounds gross, looks dazzling) and glow like a subterranean Milky Way.
Namib Naukluft Park, Namibia
Red sand dunes and skeletal trees make Namibia the closest thing we have to Mars on our home planet.
Wulingyuan Scenic Area, Zhangjiajie, China
Scenic might be an understatement: This 100-square-mile attraction contains thousands of sandstone pillars that are nature's version of skyscrapers—some even stretch taller than the Empire State Building's midpoint. It's no wonder this site was a major inspiration for the world of Pandora in Avatar.
Hang Son Doong, Vietnam
Vietnam's Hang Son Doong, the largest cave in the world, could hold an entire city block of Manhattan—including 40-story skyscrapers. It has its own lush vegetation where sunlight filters in from sinkholes above, and clouds even form near the ceiling when moisture condenses there. In other words, it's practically its own little world lurking under the earth's surface.
Jökulsárlón, Vatnajökull National Park, Iceland
The glacial lake of Jökulsárlón and its frozen beach are considered a natural wonder of Iceland, with black volcanic sands providing a stark backdrop for the chunks of ice that wash ashore.
Socotra, Yemen
With UFO-like dragon's blood trees as its most notable feature, the island of Socotra looks like it was transported to earth from a distant planet.
Grand Prismatic Spring, Yellowstone National Park, Wyoming
As its name suggests, the largest hot spring in the United States is essentially a rainbow ring of vibrant colors.
Dos Ojos, Tulum, Mexico
This cavernous cenote with double entry points—hence the moniker "Two Eyes"—is so incredible it was featured in the IMAX flick Journey Into Amazing Caves and an episode of Discovery Channel's Planet Earth. It's perfect for snorkelers, experienced scuba divers, and daredevils willing to surface in the system's bat cave.
Dallol, Ethiopia
A kind of geological wonderland of salt formations, acidic hot springs, and gas geysers, this visually stunning hydrothermal field vies for the title of world's hottest spot, with average summer highs reportedly hitting up to 114 degrees.
Valle de la Luna (Moon Valley), Chile
Have you ever dreamed of exploring the moon? A trip to Valle de la Luna in Chile's Atacama Desert is a much shorter flight. Years of erosion have left behind jagged peaks, dry riverbeds, and a landscape startlingly similar to that of our favorite celestial body's.
Lençóis Maranhenses National Park, Brazil
The geography of Brazil's Lençóis Maranhenses National Park is like nothing else on earth. The rainy season (around early June) fills every trough with water and the world becomes an MC Escher print: It is either a drowned desert or a sandy lake, depending on how the mind's eye frames what it is seeing.
White Desert, Farafra, Egypt
The landscape of the White Desert can be deceiving: What first appears to be a cool, snowy landscape is actually a mind-bendingly hot region of western Egypt. The desert is known for its wind-shaped chalk rock formations, which often resemble giant mushroom clouds frozen in time.
Explorebeauty pageant


text:
Characterization of Glycoproteoforms of Integrins α2 and β1 in Megakaryocytes in the Occurrence of JAK2V617F Mutation-Induced Primary Myelofibrosis
Gaye, Maissa M., et al. "Characterization of Glycoproteoforms of Integrins α2 and β1 in Megakaryocytes in the Occurrence of JAK2V617F Mutation-Induced Primary Myelofibrosis." Molecular & Cellular Proteomics 21.4 (2022). https://doi.org/10.1016/j.mcpro.2022.100213
Primary myelofibrosis (PMF) is a neoplasm prone to leukemic transformation, for which limited treatment is available. Among individuals diagnosed with PMF, the most prevalent mutation is the JAK2V617F somatic point mutation that activates the Janus kinase 2 (JAK2) enzyme. Our earlier reports on hyperactivity of β1 integrin and enhanced adhesion activity of the α2β1 complex in JAK2V617F megakaryocytes (MKs) led us to examine the new hypothesis that this mutation leads to posttranslational modification via changes in glycosylation. Samples were derived from immunoprecipitation of MKs obtained from Vav1-hJAK2V617F and WT mice. Immunoprecipitated fractions were separated by SDS-PAGE and analyzed using LC-MS/MS techniques in a bottom-up glycoproteomics workflow. In the immunoprecipitate, glycopeptiforms corresponding to 11 out of the 12 potential N-glycosylation sites of integrin β1 and to all nine potential glycosylation sites of integrin α2 were observed. Glycopeptiforms were compared across WT and JAK2V617F phenotypes for both integrins. The overall trend observed is that JAK2V617F mutation in PMF MKs leads to changes in β1 glycosylation; in most cases, it results in an increase in the integrated area of glycopeptiforms. We also observed that in mutated MKs, changes in integrin α2 glycosylation were more substantial than those observed for integrin β1 glycosylation, a finding that suggests that altered integrin α2 glycosylation may also affect activation. Additionally, the identification of proteins associated to the cytoskeleton that were co-immunoprecipitated with integrins α2 and β1 demonstrated the potential of the methodology employed in this study to provide some insight, at the peptide level, into the consequences of integrin activation in MKs. The extensive and detailed glycosylation patterns we uncovered provide a basis for future functional studies of each site in control cells as compared to JAK2V617F-mutated cells. Data are available via ProteomeXchange with identifier PXD030550.
Native chemical ligation approach to sensitively probe tissue acyl-CoA poolsCaspase-2 Inhibitor Blocks Tau Truncation and Restores Excitatory Neurotransmission in Neurons Modeling FTDP-17 Tauopathy


text:
Q: Код для задачи зацикливается, не могу понять почему Всем доброго времени суток!
Краткое условие задачи: на вход подается натуральное число, нужно посчитать его "разностный корень". То есть, если число находится в промежутке [0;9], то корень равен самому числу. Если это число 2693, например, то корень считается как модуль разности соседних цифр. |2-6||6-9||9-3|= 436, поскольку число 436 еще не однозначное, нужно проделать это еще раз. |4-3||3-6|=13 и еще раз |1-3|=2. 2 это окончательный ответ.
Написал код, но он зацикливается
n = input()
s=''
if int(n)>=0 and int(n)<=9:
    print(n)
else:
    while int(n)>9:
        for i in range(len(n)-1):
            s+= str(abs(int(n[i])-int(n[i+1])))
        n = n.replace(n,s)
    print(n)

Буду благодарен за помощь!

A: s надо очищать перед каждым подходом, т.е. в начале цикла while.
В конце цикла вместо невнятного replace сделать простое присвоение.
Ну и if с обвязкой там вообще лишний.
Да и вообще:
n = input()
while int(n)>9:
    n = n.lstrip("0")
    n = "".join(str(abs(int(a)-int(b))) for a,b in zip(n, n[1:]))
print(n)

A: n = input()
if int(n)>=0 and int(n)<=9:
    print(n)
else:
    while int(n)>9:
        s = ''
        for i in range(len(n)-1):
            s+= str(abs(int(n[i])-int(n[i+1])))
        n = s
    print(n.strip('0'))

Надо обнулять s

A: По мотивам решения @GrAnd, без постоянного преобразования строка-число-строка
n = input()
n = [int(d) for d in n]
while len(n) > 1:
    if n[0] == 0: n = n[1:]
    n = [abs(a-b) for a,b in zip(n, n[1:])]
print(n[0])


Time flies, tomorrow would have been Gor Gor Leslie Cheung Kwok Wing's 59th birthday. Japanese "Gor" fans as usual personally made origami cranes for Gor Gor and brought them to Hong Kong as a birthday gift for Gor Gor.
This year's origami cranes theme was "wine red" for the red wine fan Gor Gor. Japanese Gor fans felt that the mature and strong red wine was very suitable for "Gor Gor". They on 912 wine red origami cranes wrote their blessings for Gor Gor, telling Gor Gor that they would always love him and respect him!


text:
Nekromantik II: Return of the Loving Dead
By: Joel Harley
In: Movies
Nekromantik II: Return of the Loving Dead Blu-ray Review
Written by Joel Harley
Blu-ray released by Arrow Video
Directed by Jörg Buttgereit
Written by Jörg Buttgereit and Franz Rodenkirchen
1991, 102 minutes, Rated 18
Blu-ray released on 7th December 2015
Monika M. as Monika
Mark Reeder as Mark
Lena Braun as Porno-synch girl
Bernd Datkari Lorenz as Robert (archive footage)
Carola Ewers as Nekro gang member
Astrid Ewerts as Nekro gang member
Part charming romantic meet-cute, part repulsive body horror about a woman digging up her dead ex and continuing to copulate with his corpse long after decomposition has begun. Nekromantik II picks up where the first left off, as sobbing Rob sadly stabs himself to death, ejaculating everywhere as he goes. Clearly giving him a little time to rot first, Monika digs up her lover and brings him home. Let the fun and games commence. Ew.
Nekromantik II, then, the infamous sequel to Jörg Buttgereit's even more infamous gorno masterpiece. While the rule of diminishing returns makes this sequel feel slightly less shocking than its predecessor, it does have the dubious honour of being the first film to be seized and banned in Munich since Nazi Germany. And it's not hard to see why either – not for an instant does Buttgereit condemn Monika for her crimes, letting the audience make up its own mind and sympathise with her, even as she continues to use an indifferent but unconsenting dead body as her own personal pleasure puppet.
Even so, the sexual shenanigans housed here are more vanilla than they were in Nekromantik, making way for more story and character development. After the obligatory sex with a stiff, there's a jarring about turn into sweet romcom territory, as Monika meets Mark, unexpectedly falling for the guy after an impromptu cinema trip together. The following moments of familiar romantic cinema – eating ice creams together, riding a Ferris wheel, their first kiss – sitting uneasily next to Monika's fucking about with her other fella. Eventually she decides to cut off (and up) her ex, but how will she adjust to a lover with a pulse? And how will Mark react to the decomposing dick in her fridge? This is extreme German arthouse cinema, so it could go either way, really.
Compared to the previous movie, Nekromantik II is a much more confident, cinematic outing for the corpse sex series, comparable to the jump in quality between The Evil Dead and Evil Dead 2. As mentioned before, it has a genuine story, more distinct character arcs and a sense of polish, both in its gore (the bathtub sequence is particularly grotesque) and fantasy elements. This results in an altogether more watchable film than Nekromantik, but, curiously one that seems less 'pure'. Talking about its seizing by the German authorities, Buttgereit suggested that it was only judicial deliberation that Nekromantik II is a work of 'art' (as opposed to entertainment) which saved it from being an actual crime. It's so well made that, unlike the first piece, it blurs the line between entertainment and art.
That said, there is some profoundly disturbing imagery here. After almost twenty years of watching horror movies without incident, Nekromantik II finally made me lose my breakfast (it was the dead seal porn sequence that did it) – no mean feat, given that I've seen Cannibal Holocaust and friends. Buttgereit manages to make something as simple as two naked people eating boiled eggs on a rooftop while discussing ornithology feel icky and troubling, and it's almost a relief when it gets back to Monika chopping up her dead ex with a hacksaw.
Nekromantik II is a different kind of beast from its predecessor. It may be better made and less 'authentic', but that beast is no less memorable for it. Not for the faint of heart, and one for an empty stomach.
Video and Audio:
The film comes crisp and clear to 1080p High Definition, as approved by Buttgereit himself. Standard DVD definition is also available. Let's be honest, the less you see, the better. It sounds wonderful in Original Stereo 2.0, Mark Reeder's contributions to the score (discussed at length in the special features) making this one of the best sounding horror films of all time.
As we've come to expect from the folks at Arrow, the release comes packed with exclusive documentaries and features to make your Nekromantik II experience last even longer. Masters of Life and Death is a brand new documentary, featuring interviews with the director, cast and producer, looking at the film's production and release history. City of the Loving Dead takes a wander around the filming locations in Berlin, while Necropolis discusses the capital's significance in relation to the film. There's also a vintage documentary, The Making of Nekromantik 2, an interview with Reeder about the soundtrack (highly recommended), a film of the score played live for its 20th anniversary (both recommended), short films (one about Hitler and one about Ed Gein), music videos, outtakes, trailers and image galleries. Buttgereit, co-writer Franz Rodenkirchen, Reeder and Monika M. all contribute to the audio commentary, Reeder never failing to distract with his English accent among all the Germans.
Author: Joel HarleyWebsite: http://porkhead.blogspot.com/
Haribo fiend, Nicolas Cage scholar and frequently functioning alcoholic. These are just some of the words which can be used to describe Joel Harley. The rest, he uses to write film criticism for Horror DNA and a variety of websites and magazines. Sometimes he manages to do so without swearing.
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Though it features the sort of rousing, uplifting score one expects for a movie about an underdog overcoming an obstacle, the dominant sonic motif in Tom Hooper's The King's Speech is a light, choked gargle, the sound of the base of the tongue splashing around the back of the throat in tremulous preparation for a performance it would like nothing more than to not give. The tongue in question belongs to Albert Frederick Arthur George, the Duke of York and second in line of succession to the king of England, a man whose stammer might never had been an issue were he blessed with the good fortune to have been born before the popularization of radio.
The film opens in 1925, at the closing of the Empire Exhibition at Wembley. Albert's father, King George V (Michael Gambon), charges him with delivering the closing speech on radio, himself and the primary heir to the throne, Prince Edward, having already made their wireless debuts. As he arrives, his wife and their confidants reassure Albert that he will do wonderfully, but the look of fear in his eyes creates a tense mood before he even says a word. At last, aides send him in front of the microphone at the head of the stands, and all in the audience turn reverently to hear him. The pause is deafening, and when Albert finally speaks, the crackled stutters that escape his lips echo through the sound system, mocking him as the crowd maintains their respectful silence but look around uncomfortably in that way people need to make eye contact to share pain but must also avoid it at all costs to prevent an errant titter.
It's an excruciating moment, and as someone who does not stammer but has often felt the hot sting of apprehension -- no, pure, unrelenting terror -- at the simple notion of public speaking, the seemingly contradictory combination of agoraphobia and claustrophobia that creeps into the mise-en-scène rang painfully true. Of course, the damned thing about a stammer or any other display of anxiety is that, once aware that others have picked up on the trait, the sufferer can never right, spiraling further into a pit of self-revulsion and embarrassment that magnifies the first slip into a cascade of tics and halting pronunciation. The first scared pause, the dreaded "ums" and "likes," never come in one aberration. They only ever lead to more mistakes.
Humiliated by the experience, Albert tries a series of speech therapists, all of whom display a knowledge of medicine so arcane one expects them to break out leeches and suggest a blood-letting. As ashamed by the experiences of failing with countless doctors as the public performances themselves, Albert swears off speech therapy and banks on a public life held largely out of view as his father and elder brother can handle the speeches. But the king knows better. He realizes that an occasional appearance in procession with a regal wave will no longer do; with every household turning to radio for news, entertainment, and general social guidance, it is imperative that the royal family take advantage of the airwaves lest they become an inanimate relic alongside the other trinkets in their castles for fat American tourists to come marvel at year after year. "We've been reduced to the most vile and loathsome profession of all: actors," sighs the king with grim irony.
Behind Albert's back, his wife, Elizabeth (Helena Bonham Carter), finds a middle-class therapist, one Lionel Logue (Geoffrey Rush). Whatever danger this movie was in of being a stuffy period drama is obliterated by Rush's entrance, heralded by a toilet flush before that magnificent mass of a head enters the frame and, unaware of who Elizabeth really is, makes plain, frank chat with her. His puckish grin, mischievous bow tie (and since when has a bow tie been mischievous?) and quick wit disarm the somber proceedings instantly, though it's just as amusing to see his boyish looks blanch when his upfront candor is returned in kind and Elizabeth reveals her identity and that of her husband.
The scenes between Lionel and Albert -- or Bertie, as his family (and Lionel, to his extreme annoyance) call him -- play as a tug-of-war between stale, Academy-pleasing montage of uplift and determination and something fresher, more spontaneous. Lionel insists on a first-name basis to make his therapy work, and his direct manner so stuns the royal member used to even his closest advisers speaking to him with reverence and cowed expression that he starts answering back in spite of himself. Rush's humor is infectious; Bertie tells him about the other doctors who prescribed cigarettes to relax the lungs, to which Lionel replies, "They're idiots." "They're all knighted," replies Bertie smugly. "That makes it official, then," says Lionel with a wide grin.
Rush and Firth attain an instant chemistry that shows off each individually but also creates a certain hollowness when they're apart. Rush, with his giant, triangular face, is at once boyish and refined, his elocution and perfect diction clashing with his more laid-back attitude. He plays off Firth, who once again gives a fantastic performance. Like Tilda Swinton, Firth is seemingly incapable of giving anything less than a mesmerizing performance, and he's the sort of person who can oscillate between homely and strikingly beautiful depending on they compose themselves. Firth spends most of the film contorted in mental agony, squashing his throat into a makeshift double chin as if compressing a bellow, hoping to stoke the words out of his lungs. He looks uncomfortable with the very thought of existence, his eyes darting nervously even when secluded from the public eye.
Had Hooper the confidence to stay entirely with their interplay, The King's Speech might have deserved the fevered hype that has greeted its release. But he gets mired in the cliché of the genre. His edits border on the sporadic at times, eliding over the more intimate and affecting moments to get to necessary stopgaps in plot. Bound to tell the historical narrative, Hooper must devote time to Prince Edward, a feckless, irresolute cad governed by his emotions, all of which are petulant and self-centered. Casting Guy Pearce in the role makes all the Australian jokes lobbed at Lionel throughout the film that much more amusing, but not even Pearce can work with the weakling. Nothing exposes the ludicrous nature of the monarchy like Edward's ascension and ultimate abdication of the throne: he falls in love with an American woman working on her second divorce, and his passions lead him to propose marriage. As the head of the Church of England, the king could not marry a divorcée, and what's more, neither the characters nor the people behind the camera suggest his rashness comes from true love. And so, Edward drains the film's middle section, simply occupying time until he can at last drop out and let his younger brother assume the throne.
Furthermore, Hooper and writer David Seidler get stuck with the proposition of successfully building dramatic tension to the titular speech, delivered when Britain declared war on Germany. Though Lionel features prominently and the camera spends some time in his modest domicile, this is a film that essentially roots itself in the hermetically sealed world of the monarchy, a faded, anachronistic relic that effectually ended long before the Russian tsars and German emperors mentioned nervously as Albert and others ponder the fate of the dynasty. But this creates the issues of building social tension through the group of people most oblivious to popular malaise and the nuances of international relations. After all, this monarchy sent its subjects to die en masse in the previous Great War even though they, being of inbred "pure" stock, were related to the German nobility they were meant to be opposing. The film wouldn't work if it suddenly sprang WWII on the audience without tying Albert's story to the mounting international turbulence, but it also seems clumsy for the characters to mention him only in the most terse and suggestive way possible, as they do throughout the 30s before Albert becomes George VI. Only when war is at England's doorsteps do the references to "Herr Hitler" becomes anything less than thudding moments of forced relevance in an otherwise sharp script.
The film has its other flaws. For the note-perfect work from the main cast, some of the supporting parts, though played by heavyweights border on the laughable. Timothy Spall, my dear Timothy, puts in such a bad Churchill impersonation I kept waiting for, Monty Python-style, someone to walk in from behind the camera and say, "No, stop, this has gotten far too silly." Derek Jacobi plays the Archbishop of Canterbury, one of the more morally superior to hold the position, as an unctuous but snippy sycophant, wanting to be villainous without being able to twist the real man that far without snapping him from his base in reality. Long after Hooper's direction settles into its refined grace and settles the aesthetic issues near the start, these two drag down all of their scenes. Taken with some of the more obvious lines, these nagging issues too often distract from the keen, hilarious and moving double act shared by Rush and Firth and expertly moderated by Carter.
Yet if The King's Speech is ultimately unable to transcend the restrictive boundaries of its awards-baiting genre, it overcomes any disappointment by being so full of verve and energy that it at least stretches those confines to the breaking point. This is the kind of film made to show off its actors, but the main players are all so excellent that they would all deserve awards, were they given based on merit instead of marketing ability. Fortunately for the cast and crew, The King's Speech has enjoyed plenty of that as well. I do not think the term "Oscar-bait" necessarily connotes a bad film, but it does speak to the increasingly stale formula guaranteed to please the artistically conservative members of the Academy of Motion Pictures Arts and Sciences. What typically makes an Oscar-bait film unbearable is when it was clearly made to reap platitudes.
The King's Speech works because it cares for its characters and understands the symbolic but vital importance of George VI. A whole other movie could be made about the courage he and his wife displayed during the war, never leaving London even when a bomb went off at Buckingham Palace. The pauses he put into his speeches as he ensured each word came out clearly gave his voice a solemn gravity, and though his inspiration gets overlooked in favor of Churchill, George too played a key role in the war effort. Rush's Lionel looks compassionately but sternly upon his subject, aware that Albert could be a great man if he could only get over his fears. It is a testament to how well Rush goads Albert and how well Firth responds that, when the speech came at last, though I knew the ending, a tiny knot had formed in my stomach. Whatever else holds back the film, that effect was earned, and this break from the usual, priggish nature of period drama made The King's Speech an unexpected pleasure to watch.
Posted by Jake
Labels: 2010, Colin Firth, Derek Jacobi, Geoffrey Rush, Guy Pearce, Helena Bonham Carter, Michael Gambon, Timothy Spall, Tom Hooper
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WANT to hear a secret? Stand back. A new device lets you whisper in the ear of someone up to 30 metres away.
The wearable tech uses ultrasound to beam someone's words directly to an individual without anyone else overhearing. The only snag is that the large speaker mounted on your forehead and the electrodes stuck around your mouth might give the game away.
This prototype may not be subtle, but its inventor, Asier Marzo at the University of Bristol, UK, says that later versions could help soldiers communicate without alerting anyone to their presence. It could also be used to help divers talk over long distances.
To use the device, a person first attaches a speaker to their forehead or chest and four electrodes to their lips and jaw. The electrodes capture electrical signals produced by the facial muscles as a person talks.
Marzo's team trained an algorithm to recognise which electrical signals were associated with 10 words. When tested, the system could recognise the correct word more than 80 per cent of the time, even if the person wearing the electrodes was only mouthing it.
Once recognised, the words are played from the speaker. However, the speaker uses "modulated ultrasound", which is a combination of sound waves that travel through the air in a narrow beam. Only people directly in its path can hear the words. The work was presented last week at the CHI computer conference in Denver, Colorado.
Later versions of the technology could detect a wider range of words and shrink the speaker system so that it could be built into clothing. But for now, the device is a fun way to creep out people by whispering in their ears from a distance.


Game Day Food for Your NFL Watch Party!
If you're conflicted over loving your meat just as much as you love your veggies, this recipe is for you!
I'm thinking of all of you in Florida! I hope and pray everyone survives Irma, and am sending a comfort food recipe that works even if you lose power -- especially then!