text:
Observing the Observers of Systems and Environments
by Linda C Brigham
Linda Brigham reviews the Spring and Fall 1995 issues of Cultural Critique.
Where is the real you? Behind the eyeballs, right; the center of a panoptical cinema, your virtual head spinning around like Linda Blair's in The Exorcist. Watching the world go by.
Wrong. The address of the Enlightenment Subject has been vacant for a long time, and the front door now opens on a brick wall, or on the threshold of an abyss. So where do we send the mail? One answer to that question is the subject of two special issues of the journal Cultural Critique, subtitled "The Politics of Systems and Environments" (Spring and Fall, 1995). As William Rasch and Cary Wolfe explain in their introduction to the first number, the term "systems" stands in the place of the old subject, and "environments" replaces the old object. Like the old subject/object dichotomy, systems and environments are relative terms; each system becomes environment to another system. But systems and environments also manifest reciprocity: in complex self-referential systems (organism and societies for example), systems-as-observers (an ocular metaphor for perception in general) know they observe observers.
Jonathon Elmer, in "Blinded Me With Science" (Spring '95) offers a lucid illustration of reciprocity and its implication taken from an early essay of psychoanalyst Jaques Lacan. In Lacan's anecdote, three prisoners compete for freedom in a contest conducted by a "prison governor." The governor explains that he has five discs, identical except for color; three are white, two black. He fastens an e on each of the prisoner's backs, in the process concealing the color, as well as the color of the two leftover discs. Each prisoner is confined to examining the backs of his companions; none may communicate with the others. The first to correctly guess his own color wins liberty.
The governor fastens white disks on each of the prisoners. After a short while each steps toward the door. They explain: I am a white, here is how I know it. Given that my companions were whites, I thought that, if I were a black, each of them would have been able to make the following inference: "if I were also black, the other, immediately realizing from this that he is a white, would have left straight away; therefore I am not black." And the two others would have left together, convinced of being whites. If they stayed put, it is because I am a white like them. The three prisoners are a parable of modern society, in which behavior has a double contingency, an agency enfolded into the fabric of other agents. It describes the stock market's texture of uncertainty; it describes the novel brilliance of Poe's hero in The Purloined Letter. This double contingency in its general form extends to more primitive systems as well. It applies in principle to perception's effect on subsequent perception, significant to even relatively primitive self-organizing systems, such as the brain of a frog, or the phenomenon Brian Massumi calls "affect" (Fall '95): a response too primordial for the will, yet too rich with feedback to be reflex.
Double contingency is complex feedback, representative of a "second order cybernetics"; it is fundamental to systems theory, the more common phrase for what the Cultural Critique issues call systems and environments. German sociologist Niklas Luhmann is system theory's foremost theoretician; his work combines sociological analysis not only with the older cybernetics, but with more recent ideas in neurobiology and cognitive psychology. Luhmann contributes generously to the Cultural Critique volumes, and many of the other essays further elaborate - as well as critique - his implications. Overall, these numbers provide a bracing introduction to Luhmann for unfamiliar readers.
Luhmann has assisted the circulation of another systems term that gets much attention here, "autopoiesis." Autopoiesis, or self-making, comes most recently from the neurobiological work of Humberto Maturana and Francisco Varela; it describes individuation as the result of a reiterated process of making distinctions that come, through their very reiteration, to define the emergent entity against its environing other, a process that underwrites segregations like a cell membrane, the neural pathways that form the architecture of consciousness, the organization of space, time, the soul, social institutions. Autopoiesis implies that as organisms evolve in complexity perception undergoes more and more concentrically nested processing loops, in a sense, acquiring ever greater distance from "reality." As such, it like Luhmann, comes in for some criticism: Both Cary Wolfe and N. Katherine Hayles (Spring '95) observe that autopoiesis' ever-densifying loops of reiterative processing exclude "real" contingency; Wolfe charges that autopoietic accounts of consciousness, coupled with an ethic exemplified by Varela's Buddhism, inhibit and sidetrack efforts to grapple directly with the real conditions that create poverty and scarcity. Hayles expands on objections like these in her opening conversation with Luhmann and others in the introduction to the Fall number; Luhmann, typically, responds by relativizing space, time, and any possible "location" of reality.
If Luhmann's response suggests a certain skepticism, readers can find the charge eloquently elaborated in articles by Dietrich Schwanitz and Peter Uwe Hohendahl (Spring '95). Schwanitz connects Luhmann's emphasis on paradox - the inevitable result of total system - to a preference for irony, mathematics, schizophrenia, imagination, and literature - but also to political vacancy. Hohendahl, responding to Luhmann's essay "Why Does Society Call Itself Postmodern?" draws out Luhmann's pessimistic implications for deliberate reform, any change of institutional trajectory. All theory becomes internal to systems theory.
Nonetheless, the volumes also report positive applications of systems theory. William Rasch and Drucilla Cornell (Spring 95) discern in Luhmann a definite and positive function of system - namely, ethics. Ethics inoculates the social system against the "bacterium" of morality, the collapse of all social development into the deadening stasis of a blind tradition whose only terms are "right" or "wrong." In the Fall issue, Romanticist Marjorie Levinson and political scientist Timothy Luke apply aspects of systems theory to environmentalism, the human use of inhuman beings.
Certainly one of the most powerful possibilities of systems theory is its potential for disciplinary reorganization. It demands collusion between the sciences and the humanities, and, I would hope, could help alleviate a kind of existential crisis on either side. Systems theory, it seems to me, promises the humane disciplines in particular a constructive purchase without recourse to special - as in species - rights. If nothing else, it dramatizes the material importance of reflexive reflection; indeed, in place of the old-fashioned epistemological risk of solipsism, it confronts us with the danger of drowning in the gaze of a world that is so thoroughly another subject. But that is a rich rather than an impoverished world.
. "Observing the Observers of Systems and Environments", Electronic Book Review, September 1, 1996, .
Filed Under: critical ecologies Tagged With: autopoiesis, Brian Massumi, Cary Wolfe, cybernetic, Dietrich Schwanitz, environment, Francisco Varela, Humberto Maturana, Jaques Lacan, Jonathon Elmer, Kath, linda brigham, Niklas Luhmann, Peter Uwe Hohendahl, poe, systems theor, william rasch
Linda C Brigham
Academia, Inc.
Are We Posthuman Yet?
Cyberinthian Ways
Do Androids Dream of Electric Mothers?
Feeding the Global Spider
Old Orders for New: Ecology, Animal Rights, and The Poverty of Humanism
by Cary Wolfe
Charles Darwin: Conservative Messiah? On Joseph Carroll's Literary Darwinism
by Bruce Clarke
Beyond Repair: A Reply to John Bruni
by Stefan Herbrechter
Post-Prognostics
by Justin Roby

redpajama_set_name: RedPajamaCommonCrawl


text:
@echo off
setlocal enableDelayedExpansion
if "%~1" equ "" (
	echo no file passed
	echo pass -help to see the help message
	exit /b 1
)

for %%# in (-h -help /h /help) do (
	if "%~1" equ "%%~#" (
		echo generates SHA256 checksum for a given file
		(echo()
		echo USAGE:
		(echo()
		echo %~nx0 file [variable]
		(echo()
		echo variable string in which the generated checksum will be stored
		(echo()
		exit /b 0
	)
)

if not exist "%~1" (
	echo file %~1 does not exist
	exit /b 2
)

if exist "%~1\" (
	echo %~1 is a directory
	exit /b 3
)

for %%# in (certutil.exe) do (
	if not exist "%%~f$PATH:#" (
		echo no certutil installed
		echo for Windows XP professional and Windows 2003
		echo you need Windows Server 2003 Administration Tools Pack
		echo https://www.microsoft.com/en-us/download/details.aspx?id=3725
		exit /b 4
	)
)

set "SHA256="
for /f "skip=1 tokens=* delims=" %%# in ('certutil -hashfile "%~f1" SHA256') do (
	if not defined SHA256 (
		for %%Z in (%%#) do set "SHA256=!SHA256!%%Z"
	)
)

if "%~2" neq "" (
	endlocal && (
		set "%~2=%SHA256%"
	)
) else (
	echo %SHA256%
)
endlocal

redpajama_set_name: RedPajamaGithub


text:
Adoption is the right option for families who cannot concieve
by Annette Henninger
Wed, Oct 30th 2019 03:10 pm
We are the Henninger family: Tom, Annette and Adam. Before we were a family of three, we were a couple who spent years trying to conceive. There were surgeries, doctor appointments, medications, charts and endless tests. We were left with the news that we would not be able to have children and if we did conceive, there was a very high probability of miscarriage. Our next step was to try adoption. What we were not prepared for was how difficult it would be to find an infant.
We made a personal resume and began sending them to obstetricians and lawyers who deal with adoption. Our hope was that they would give them to mothers who were in unfortunate situations and could not care for the babies they were carrying. This was not an easy task. We spent months waiting by the phone for "the call." In December 1993, we received an incredible Christmas gift! It was a 3-day-old baby boy! He was the answer to our prayers and was active, growing and healthy.
At the age of 11 we discovered he needed a kidney transplant. We were forced to "open" a "closed" adoption and contacted the birth mother to see if she was a donor candidate. Health issues prevented her from being a donor but in our communication we made sure we thanked her profusely for choosing life. She sacrificed 9 months of her life to do the right thing and to help us become a family. She said there was no other choice. She knew she was doing what was right.
Adam had his transplant when he was 12 and is now 25, living on his own and working as a dental hygienist. His health can be tricky sometimes but we thank God for his blessing.
So why am I telling you this story? Because there are so many couples and families out there who long for children of their own who can't conceive. Couples who are trying to adopt but are having no luck because of the lack of babies available. Abortion is taking away the life of a little girl or boy who could have a happy, long and productive life.
If you know of a girl in trouble with an unwanted pregnancy, suggest adoption. It's nine months of sacrifice to give a lifetime of love to a family waiting for children. Well worth it to save one of God's incredible blessings.
This is our story. There are thousands of adoption stories out there and at this moment there are thousands of families waiting to adopt. There are 36 couples waiting for every one baby placed. It's pretty sad to think about. Abortion is murdering the lives of God's little miracles. Babies that would and should and must be welcomed loved and appreciated.
Welcome to join a loving, caring and accessible community
The Gospel of Life and the Church in the modern world


Keystroke ridden by P J McDonald were held up in last, but made smooth headway over 1 furlong out. They closed the gap 1 furlong out and soon led. They kept on well in the last 100 yards and just held on to win by a shoulder.


~ … and sometimes "al dente"
… and you go into some of these small towns in Pennsylvania, like a lot of small towns in the midwest, the jobs have been gone now for 25 years and nothing's replaced them. And they've gone through the Clinton admininistration and the Bush administration and each successive administration has said that somehow these communities are going to regenerate and they have not. So it's not surprising then that they get bitter and they cling to guns or religion or antipathy toward people who aren't like them or anti-immigrant sentiment, or anti-trade sentiment in order to explain their frustrations.
… and you go into some of these small towns in Iraq, like a lot of small towns in the mideast, the jobs have been gone now for 25 years and nothing's replaced them. And they've gone through the Clinton admininistration and the Bush administration and each successive administration has said that somehow these communities are going to regenerate and they have not. So it's not surprising then that they get bitter and they cling to guns or religion or antipathy toward people who aren't like them or anti-immigrant sentiment, or anti-trade sentiment in order to explain their frustrations.
I changed two words. But can you ever imagine that Obama would utter those same sentences with those two words changed?


The competition is open to owners, licensees or managers of forecourt retail sites in the UK. Overseas entrants are not eligible.
Any employees (and their families) of the organiser, its agents and anybody professionally connected with the competition are not eligible for entry.
Entrants may not submit more than one entry for a site but there is no limitation on the number of categories that may be entered.
Entries and photographs must be uploaded online by Monday 13 May, 2019.
Entries will only be accepted if they are submitted online.
Only one email contact should be supplied for each entry by the person responsible for the submission and to whom all correspondence concerning the awards should be addressed.
Responsibility cannot be accepted for any late, incomplete, or which otherwise does not comply with these terms and conditions may be deemed invalid in the sole discretion of the organiser.
There will be one winner in each specialist category. There will be twelve winners selected from the regional awards, in the two volume classifications. There will also be one winner in the Best Motorway Services Outlet. The Forecourt Trader of the Year will be selected from the regional & motorway winners.
All of the finalists will be selected by August against the criteria set out in the entry form by a panel of judges selected by the organiser and will be notified by email within fourteen days.
The winning site of the Forecourt Trader of the Year award is not eligible to win in a consecutive year.
The winners will be announced at and will be required to attend the awards ceremony and dinner at Park Plaza Westminster Bridge, London on Thursday 12 September 2019. The names of the winners will be published in Forecourt Trader's October issue.
Finalists will be offered one complimentary place at the awards dinner.
The judges may decline to make some or all of the awards in any category if in their opinion there are insufficient entries of a winning standard.
Entrants consent to the publication by the organiser in connection with the awards of any of the documents or materials constituting their entry.
Winners may state in advertising, promotional and other business material that they are winners but must also state the category of the award and the year in which it was won.
By entering the awards, all entrants will be deemed to consent to the transfer of their personal data to the data controller for the purposes of the administration of the awards and any other purposes to which the entrant has consented.


text:
Q: can someone please elaborate the following code? This code is the first one I've seen. I am curious as to how it changes all character from a to z into uppercase when the last line of code was only written with (ch[i] - 'a' + 'A').
if (ch[i] >= 'a' && ch[i] <= 'z') {
    // Convert into Upper-case
    ch[i] = (char)(ch[i] - 'a' + 'A');
}

A: The line:
ch[i] = (char)(ch[i] - 'a' + 'A');

Sets ch[i] to its associated uppercase due to a constant difference between an uppercase letter and its lowercase form.
For means of communication, the line can be re-written as:
ch[i] = (char)(ch[i] + ('A' - 'a'));

By adding this constant difference the line yields the lowercase letter's uppercase character.

redpajama_set_name: RedPajamaStackExchange


Kelty 3 Piece Living Room Set By Alcott Hill On Kelty 3 Piece Living Room Set By Alcott Hill Sale . For people who are searching for Kelty 3 Piece Living Room Set By Alcott Hill review. We have more information about Detail, Specification, Customer Reviews and Comparison Price. I would really like recommend that you always check the price.
[…] To get a cheap price or great deal. Order your individual Kelty 3 Piece Living Room Set By Alcott Hill from this point. You will be surprised to find out how convenient this product can be, and you will probably feel good knowing that this Kelty 3 Piece Living Room Set By Alcott Hill is amongst the best selling item on today.
However, I hope that this reviews about this Kelty 3 Piece Living Room Set By Alcott Hill is going to be useful. And hope I'm a portion of helping you to get a good product. You will obtain a review and experience form here. I hope you will ensure and purchase considered one of Kelty 3 Piece Living Room Set By Alcott Hill after read this review.
Do yоu consider Kelty 3 Piece Living Room Set By Alcott Hill might It Be genuinely thе best іn Category? I found customer evaluates while of composing and so on top оf that they can hаd awarded the Kelty 3 Piece Living Room Set By Alcott Hill tо ##rating## stars from the possible 5 on standard. The consumer examines? Online Store declares total. I intend to show to уou what current owners necessity certainly to convey over it.


text:
Q: How to make text resist transparancy? /// The text I'm referring to is the text inside the transparent caption boxes displayed just below my picture slider(Jquery cycle2).  The text seems to adhere to the opacity I've commanded for the box.  I'd also like the box to span the width of the slider and the text within it to be centered, but now I'm getting ahead of myself.  I would be glad to try any solutions suggested to me.  I've also included an example from another website of what Im trying to imitate.
 http://sff-law.ca/.

Instead, I've only been able to create the following:

///
   <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org    /TR/xhtml1/DTD/xhtml1-transitional.dtd">

   <meta http-equiv="Content-Type" content="text/html; charset=utf-8" />
   <title>Untitled Document</title>

A: If you only need this for newer browsers you can set the CSS to use an RGBA value, then the text will be opaque (This will work in IE9+, Chrome, Firefox, Safari):
.cycle-overlay{
     background-color:(0,0,0,.1);
}

If you need a backwards compatible solution, you can create a 1x1 PNG image with the transparency that you want, and set that as the background.


text:
Iran: Hardliner General Esmail Ghaani Known For Extremist Opposition To Israel To Replace Soleimani As Quds Chief
by IANS - Jan 5, 2020 01:26 PM +05:30 IST
Major General Esmail Ghaani (Pic via Wikipedia)
Esmail Ghaani, a hardline Iranian General, has been appointed by the country's Supreme Leader Ayatollah Ali Khamenei as the new chief of the elite Quds Force following the death of its former head Major General Qasem Soleimani, who was killed in a US airstrike.
In his decree appointing Ghaani, Khamenei characterized him as "one of the most distinguished Revolutionary Guard commanders", the Persian-language Radio Farda said in a report.
The Quds Force, which is part of the 125,000-strong Iran's Islamic Revolution Guards Corps (IRGC), is a paramilitary organisation that answers directly to Khamenei.
Ghaani fought in the Iran-Iraq War of the 1980s and was a close and trusted aide to Soleimani.
He also served as an intelligence official in the Iran's Islamic Revolution Guards Corps (IRGC).
According to the Radio Farda report, Ghaani is known for his extremist opposition to Israel, similar to Soleimani, and was one of the key figures in Iran's involvement in the Syrian civil war.
However, unlike Soleimani who usually refrained from commenting on internal political issues, Ghaani had no reservations to intervene and express his views.
The 3 January airstrike, which was ordered by US President Donald Trump, hit Soleimani's motorcade near the Baghdad International Airport.
A total of 10 people were killed, including the Iran Major General and Abu Mahdi al-Muhandis, the second-in-command of Iraq's Popular Mobilization Front (PMF).
Khamenei and President Hassan Rouhani have vowed to retaliate against the US over Soleimani's death.
The airstrike came after Iraqi protesters on December 31 stormed the US embassy compound in Baghdad to protest the American air raids conducted on December 29 against five bases of Iran-backed militias in Iraq and Syria, claiming the lives of 25 people.
(This story has been published from a wire agency feed without modifications to the text. Only the headline has been changed.)
Iran-Israel relations
Major General Hajj Qasem Soleimani.
US Air Strike
Esmail Ghaani
An Appeal...
As you are no doubt aware, Swarajya is a media product that is directly dependent on support from its readers in the form of subscriptions. We do not have the muscle and backing of a large media conglomerate nor are we playing for the large advertisement sweep-stake.
Our business model is you and your subscription. And in challenging times like these, we need your support now more than ever.
We deliver over 10 - 15 high quality articles with expert insights and views. From 7AM in the morning to 10PM late night we operate to ensure you, the reader, get to see what is just right.
Becoming a Patron or a subscriber for as little as Rs 1200/year is the best way you can support our efforts.


text:
Leocádio Gomes Franklin foi o primeiro e único barão de Val Formoso. Exerceu a função de comissário do café no Rio de Janeiro.

Títulos nobiliárquicos e honrarias
Barão de Val Formoso
Título conferido por decreto de D. Pedro II do Brasil.

Baronatos do Brasil

redpajama_set_name: RedPajamaWikipedia


Fiat Panda Camper. general seat terra van panda van been made into camper the fiat forum. 17 best images about fiat panda 4x4 on pinterest bbc strada and trips. pin by joop westerholt on fiat panda pinterest fiat panda panda and fiat. found on autoscout fiat panda based seat camper. even with an old fiat panda 4x4 you off road experience camper 4x4 facebook. fiat panda tow car motorhome towcar tow a car braked a frame 55plate 1 2 dynamic in wigston. fiat panda 4x4 and caravan padova italy june 2012 f flickr. fiat panda 900 i e young da auto camper low cost 1006602. an airtop atop a fiat panda he autohome airtop uses a gas strut pop up system adventurous. general pandering within tent the fiat forum. [Benshapiroonline.com].


Here are list of TN TET Application form issue centres in Thoothukudi district for Tamilnadu TRB Recruitment 2017 – 2018.
Check online where you can get TNTET application form in your Thoothukudi district given by trb board.
K.V.S. Matric Higher Secondary School, Thoothukudi 628 001.
Govt.Higher Secondary School, Mukkani 627 151.
Seena Vana Govt Higher Secondary School, Thoothukudi- 628 003.
These are the list of application form issue centres in Thoothukudi for TN TET exam 2017, you may also check complete list to download TET application form centres .


BGC0000294, acinetobactin biosynthetic gene cluster from Acinetobacter baumannii. Locus 1. Partial MIBiG entry.
acinetobactin (BGC0000294). Gene Cluster 1. Biosynthetic class = NRP. GenBank AB101202. Click on genes for more information.
1. Mihara K et al. (2004) Identification and transcriptional organization of a gene cluster involved in biosynthesis and transport of acinetobactin, a siderophore produced by Acinetobacter baumannii ATCC 19606T. Microbiology 150(Pt 8):2587-97. doi: 10.1099/mic.0.27141-0.


HELENSBURGH'S long unbeaten run was finally brought to an end on Saturday, following nine straight wins in the course of the last three months, as the local side fell to a 4-2 defeat against East Kilbride YM.
The local side paid the price for two weeks without a game as their first division opponents – despite being held 2-2 at half-time – stretched away after the break, taking advantage of some tired Helensburgh legs.
The Burgh team showed some changes from the last time they played, due to suspension and work related absences, though it was still a strong team who took to the pitch in Hamilton for their second group game in the Greater Glasgow Premier AFL's President's Cup competition.
The home team opened the game in a fast, direct way, trying to put the Burgh defence under early pressure, but it was the visitors that shocked them when they opened the scoring after five minutes. David Allan slotting the ball into the net after good work by Del Park and David Sinclair.
This stung the hosts, and they pressed hard at the Burgh team by pushing four players up front at every opportunity.
This tactic paid off for them ten minutes after the opener, when a cross into the box from the left hand side wasn't dealt with properly and gave the forward time to pick his spot.
And the hosts took the lead a short time later when the YM forward was again given too much space in the danger zone, and his shot beat keeper Ronnie Eskdale.
READ MORE: Record-breaking Burgh make it seven wins on the trot.
After this frantic first 15 minutes, the game settled down and both sides had chances to score, with Helensburgh wasting two or three good opportunities to level the game.
However, with ten minutes of the first half remaining the Burgh team managed to draw level, Keith Thomas playing a through ball to Allan, who slipped the ball under the keeper for his second of the afternoon, despite shouts off offside from the home team's defence.
And the visitors should have gone into the break ahead, when just a few minutes before the break Sinclair pounced on a goalkeeping error to find himself with only a defender to beat – but his shot clattered off the defender's leg, and was diverted away for a corner kick.
That left the tie finely poised going into the second half, but Helensburgh had the additional challenge of a brisk wind in their faces after the interval, and the visitors found themselves being forced backwards more often than not as the YM side grew in confidence.
Eskdale was called into action on more than one occasion as the home side turned up the heat, but the keeper did well to keep his goal intact.
However, the task was becoming more and more of a struggle for the Helensburgh lads, as fitness – or lack of it – began to take its toll.
READ MORE: Helensburgh Rugby Club lose out away to Uddingston.
Despite the increased pressure on their defence, though, there didn't seem to be any real goal threat coming from the YM forwards – until disaster struck with quarter of an hour to play.
A long ball was played in behind the defence, and as both Scott Hendry and the YM forward tussled for the ball, the referee decided that Hendry had fouled the home player in the attempt of clearing the ball and awarded a penalty.
Helensburgh's pleas fell on deaf ears, and YM took the lead from the resulting penalty kick.
That left the visitors with no choice but to push forward in search of the equaliser; it was a tactic that left gaps at the back, and YM sealed the win with their fourth late on, breaking up a Burgh attacking move and quickly shifting the ball forward before Eskdale was beaten for a fourth time.
Despite the loss of a fourth goal, Helensburgh went at the home team in the final few minutes in the hope of setting up a grandstand finish, but their task was always going to be difficult against a YM side who may be struggling towards the wrong end of the first division table, but who have saved their best form for cup tournaments for much of the campaign.
Sinclair was denied by the YM keeper when clean through on goal, and James Cameron saw a shot blocked by the hosts' number one, as Helensburgh's unbeaten run – which stretches all the way back to December – was finally brought to an end.
Manager Sam Gemmell said afterwards: "I think we were all disappointed in the unbeaten run coming to an end, but it was always going to be difficult against an EK team who were already through to two cup semi finals.
It's back to league business for Helensburgh this Saturday, March 30, when they travel to Busby to take on Eastwood Parkmount.


Kucharski, A, Mills, H, Pinsent, A, Fraser, C, Kerkhove, MV and Riley, S (2014). Data from: Distinguishing between reservoir exposure and human-to-human transmission for emerging pathogens using case onset data. [Data Collection]. Dryad digital repository. https://doi.org/10.5061/dryad.2g43n.
Camacho, A, Kucharski, A, Funk, S, Breman, J, Piot, P and Edmunds, J (2014). Potential for large outbreaks of Ebola virus disease: Supplementary Data. [Data Collection]. London School of Hygiene & Tropical Medicine, London, United Kingdom. https://doi.org/10.17037/DATA.27.
Chotirmall, SH, Rothnie, K, Müllerová, H, Hurst, JR, Smeeth, L, Davis, K, Thomas, SL and Quint, J (2016). Validation of the Recording of Acute Exacerbations of COPD in UK Primary Care Electronic Healthcare Records. [Data Collection]. Figshare. https://doi.org/10.1371/journal.pone.0151357.
Diaz-ordaz, K, Kenward, M, Gomes, M and Grieve, R (2016). Multiple imputation methods for bivariate outcomes in cluster randomised trials: Supporting Information. [Data Collection]. London School of Hygiene & Tropical Medicine, London, United Kingdom. https://doi.org/10.17037/DATA.99.
Rees, CP, Hawkesworth, S, Moore, SE, Dondeh, BL and Unger, SA (2016). Factors Affecting Access to Healthcare: An Observational Study of Children under 5 Years of Age Presenting to a Rural Gambian Primary Healthcare Centre. [Data Collection]. Figshare. https://doi.org/10.1371/journal.pone.0157790.
Mason, DS, Marks, M, Sokana, O, Solomon, AW, Mabey, DC, Romani, L, Kaldor, J, Steer, AC and Engelman, D (2016). The Prevalence of Scabies and Impetigo in the Solomon Islands: A Population-Based Survey. [Data Collection]. PLOS Neglected Tropical Diseases. https://doi.org/10.1371/journal.pntd.0004803.
Weiss, H, Nakinyingi-Miiro, J, Sembajjwe, W and Gibson, L (2017). MENISCUS SMC dataset. [Data Collection]. London School of Hygiene & Tropical Medicine, London, United Kingdom. https://doi.org/10.17037/DATA.208.
Mccreesh, N (2017). Model code for "An explanation for the low proportion of tuberculosis that results from transmission between household and known social contacts". [Data Collection]. London School of Hygiene & Tropical Medicine, London, United Kingdom. https://doi.org/10.17037/DATA.283.
Weiss, H, Nakinyingi-Miiro, J and Sembajjwe, W (2018). Data for: "Menstrual health and school absenteeism among adolescent girls in Uganda (MENISCUS): feasibility study". [Data Collection]. London School of Hygiene & Tropical Medicine, London, United Kingdom. https://doi.org/10.17037/DATA.275.
Cox, S, Makani, J, Lee, N and Sangeda, R (2018). Dataset for: Hepcidin in Tanzanian children with sickle cell disease. [Data Collection]. London School of Hygiene & Tropical Medicine, London, United Kingdom. https://doi.org/10.17037/DATA.00000781.
Anywaine, Z, Levin, J, Abaasa, A, Nunn, A, Grosskurth, H and Munderi, P (2018). Safety of discontinuing cotrimoxazole prophylaxis among HIV infected adults stabilized on ART in Uganda: randomised controlled trial. [Data Collection]. London School of Hygiene & Tropical Medicine, London, United Kingdom. https://doi.org/10.17037/DATA.00000917.


Chris Henry Loft Conversions & House Extensions have been creating beautiful loft conversions and stylish home extensions for over 30 years in properties around West Yorkshire. We place an emphasis on providing you with a complete service, from planning and design, all the way to the completion of your new loft conversion or home extension.
Our team are fully qualified tradesmen that include carpenters, plumbers, electricians, joiners, tilers and plasterers. This means that you can be assured of a high quality service when you get in touch with us.
Chris Henry Loft Conversions & House Extensions are committed to providing safety for our staff and our clients. All of our work is fully guaranteed and we always remove all waste and recycle where possible. You'll also benefit from free quotes and have peace of mind knowing that we are covered by public liability insurance.


Karina Calor, popularly known as GamerGirl has proved that age and experience are less important to succeed when a person shows a strong determination towards her work. Her creative works, demonstrated through her self- entitled Youtube Channel, has spoken the volume of her success and she inevitably has amassed millions of followers.
The internet sensation, Gamergirl owns a self-entitled YouTube Channel which has more than 1.1 million subscribers. Her channel features some outstanding game reviews to the excellent toy tutorials.
Runs a YouTube Channel with Brother Ronaldo!
Along with her self-entitled channel, GamerGirl also runs another channel named 'Sis vs. Bro' with her brother, Ronaldo. Their joint effort has helped them earn more than 6 million subscribers making their uploads a hit in the platform.
The brother-sister duo uploads videos of 'food challenges,' 'their daily routines' and much more while showing how their priorities differ based on the gender. Their popular videos from the channel are 'WHATS ON MY PHONE Challenge!', 'Sleepover GIRLS vs. BOYS' and 'EXPECTATIONS vs. REALITY of having a Sibling'.
GamerGirl is one of the most-famous internet stars who has garnered a high number of a spectator on her YouTube channel. If reports are to believed, her monthly earnings are around $12.7k-$202.7k, and her annual income is between $152K-$2.4K. On that note, it's evident that she enjoys a splendid net worth in thousands figure.
Too Young to Start a Dating Affair!
GamerGirl's commitment towards her work makes it evident that she has a mind which is a decade older her age. However, let's not forget that she's still a ten years old child who has nothing more to her life than her family, friends and work so far.
The star doesn't seem interested in starting a dating affair and has been able to make a significant work-life balance. Well, not for now, but her fans would be delighted to see her sharing a romantic affair with a boyfriend in future.
Besides devoting time to creating videos, the star enjoys spending quality time with her siblings and parents. Her social media posts haven't revealed the names of her parents, but it clearly shows her respect and love towards them. Recently, she shared a picture of her having a gala time with her family in the joyful park via Instagram on May 15, 2017.
Caption: GamerGirl enjoying the time with her family, the picture uploaded on May 15, 2017.
Gamergirl, with a real name Karina Calor, celebrates her birthday on May 23 as per her wiki. She was born in 2007 which makes her ten years of age. She stands a decent height now, and with the growing age, she will undoubtedly become taller. The star holds a Canadian nationality and belongs to White ethnicity.


@phil_anaya 1h1 hour ago Great to see San Antonio's own @selcharrodeoro singing the national anthem at the DNC.
Christine Portela Verified account @ThisIsPortela So happy to see Sebastian de la Cruz back on a big stage - singing the national anthem at the DNC.
glenn o'brien @lordrochester Bullfighter singing national anthem at DNC. "Jose can you see..."
JOHN THOMAS LAMBERT @jonlambert2 1h1 hour ago #DNC wow the demos***s have a Mexican singing our star spangled banner, how non American can't his delegation become!!!!


text:
Le genre Myrtus ne contient aujourd'hui seulement deux espèces : Myrtus communis et Myrtus nivellei.

Cependant, de nombreuses autres espèces originaires d'Amérique du Sud et d'Océanie, un temps classées comme  appartenant au genre Myrtus, ont été transférées dans les genres Archirhodomyrtus, Eugenia, Lophomyrtus, Luma, Psidium, Rhodomyrtus, Syzygium, Ugni, Ixora, Gossia,  Neomyrtus, Blepharocalyx, Myrcia, Calyptranthes, Myrteola, Pimenta, Mosiera, Planchonia, Melaleuca, Calycolpus, Metrosideros, Uromyrtus, Xanthomyrtus et Myrceugenia. Ainsi, autour de 600 noms binomiaux ont Myrtus comme nom générique.

Les seules espèces actuellement classées dans le genre Myrtus sont celles indiquées en gras :

Myrtus axillaris Sw. 1788 (= Eugenia axillaris (Sw.) Willd. )
Myrtus bahamensis (Kiaersk.) Urb. 1927 (= Psidium longipes var. longipes (Berg) McVaugh)
Myrtus bellonis (Krug & Urban) Burret 1941 (=  Eugenia bellonis Krug & Urban)
Myrtus communis L. 1753 (Myrte commun)
Myrtus communis var. acutifolia L. 1753
Myrtus communis var. angustifolia L. 1753
Myrtus communis var. baetica L. 1753
Myrtus communis var. belgica L. 1753
Myrtus communis var. mucronata L. 1753
Myrtus communis var. romana L. 1753
Myrtus communis var. tarentina L. 1753
Myrtus communis var. variegata L. 1753
Myrtus cordata Sw. 1788 (= Eugenia cordata var. cordata (Sw.) DC. )
Myrtus ehrenbergii 1854 [1856] (= Mosiera ehrenbergii (O.Berg) L.R.Landrum)
Myrtus glabrata Sw. 1788 (= Eugenia glabrata (Sw.) DC. )
Myrtus ligustrina Sw. 1788 (= Eugenia ligustrina (Sw.) Willd.)
Myrtus molinae 1847 (= Ugni molinae Turcz. )
Myrtus monticola Sw. 1788 (= Eugenia monticola (Sw.) DC. )
Myrtus nivellei Batt. & Trab.
Myrtus procera Sw. 1788 (= Eugenia procera (Sw.) Poir. )
Myrtus splendens Sw. 1788 (= Myrcia splendens (Sw.) DC. )
Myrtus ugni 1782 (= Ugni molinae Turcz. )
Myrtus verrucosa Berg 1854 [1856] (= Psidium longipes var. longipes (Berg) McVaugh)
Myrtus zuzygium L. 1759 (= Calyptranthes zuzygium (L.) Sw. )

Selon  (Attention liste brute contenant possiblement des synonymes) :

Articles connexes
 genre Myrtus
 Myrte, nom vernaculaire ambigu
 famille des Myrtaceae

Notes et références

Références biologiques

Myrtus
Myrtus
Myrtus


This chart, highlighting some of the events of 1829 and 1830, illustrates the sacrifices of those who were instrumental in helping bring forth the Book of Mormon in a miraculously short period of time. Oliver Cowdery spent the two months of April and May, 1829, in Harmony, Pennsylvania, assisting the Prophet Joseph Smith as scribe for most of the Book of Mormon translation. Prejudice against the Prophet made it difficult for him to find a willing printer for the controversial "gold bible." Fortunately, Martin Harris gave much support to this cause, mortgaging his farm to secure payment for the cost of printing five thousand copies of the first edition of the Book of Mormon. Despite such challenges, in March 1830 the ancient Nephite record was published, opening the way for the organization and growth of the restored Church of Jesus Christ.


And that is, as they say, that. Hope you kids had a good time. I will leave the forum up for a while longer, and then lock it for posterity. I am planning on leaving one post open for all those people that think we need some prescription drugs through the mail to spam. You folks can also post your well wishes etc. If you are interested in what we decide to do in the future, register in the forum. If we come up with some kind of really neato webby type thing, we will announce it that way.
In other news...who am I kidding. Goodbye everybody, take care. And remember you can bet that a Hero will have your back.
Well after three years I gotta say that - damn I've got a lot of practice in Photoshop. I would like to thank those of you who where active in our forums without which I'm sure we would have quit long ago. A special thanks to Mr.Witty Librarian. Finally, I'd like to say it's been fun Ninja, hopefully we'll come up with something diverting to put our efforts toward soon. We'll see all of you then.
To quote Eddie Izzard "and with that I think I'll keep on giggling 'cause I quite like it."
Girl Scout: Maybe we could get a spin off.
Boy Scout: I doubt it, "PJ Chronicles Babies" just doesn't have that ring to it.
Whimsical: I was just getting to know my character. It's hard for a method actor to just change roles.
Bob: At least you're not going to be remembered looking like this.
KRO-GAR: KRO-GAR world famous. Why KRO-GAR canceled?
Innocence: I thought KRO-GAR was loved by millions. That's what he told me anyway.
Rats: More like dozens. It's ok kids, lets go rob some banks.
Nitui: So this is how it ends?
Ninja Comic: Well, I wanted to do the fadeout thing from Bloom County, but it's not in the effects budget.
Nitui: And the "Guidance Impaired Toboggan" ending?
Ninja Comic: The right people will get it.
Ninja and Nitui: Goodbye folks, thanks for reading!
Come comment and get a deeper insight into your favorite characters.
©City of Heroes and ©City of Villains are Massively Multiplayer Online Role Playing Games where you create and play as a superhero or a supervillain. Find out more info. at these sites.
What's with the "Script" button?
Recently we have been getting more international readers. We figured we would start posting the script under the news so translation pages like Babel Fish can read it. Also, people that may need a larger font can use browser settings to increase the font size. For added fun, have Bable Fish translate the page to another language, then copy it back in and translate it back. Wacky fun there! For more info ask in the forums.
© CITY OF HEROES and all related material Cryptic Studios, Inc. and NC Interactive, Inc. All other material © PJ Chronicles or date proven owners.


text:
THE SACRED DISEASE
Erica Scoggins - 28'43"
Angie lives with her mom and struggles to manage a heavy dosage of medication for a neurological disorder. Reeling from the death of her brother and oppressed by the very medication meant to cure her, Angie yearns for the strange, otherworldly seizures that at once haunted her and made her feel alive. Nicole, a mysterious and reckless woman, convinces Angie to toss the pills and accompany her to an old mansion in the deep woods of East Tennessee. On the outskirts of her town, Angie finds other people like her. Angie endures a nightmarish limbo, finally breaking through to the sublime and ecstatic moment that gives this disease its sacred name.
No trailer for this film.
Director not to present this film for Public, the Jury can award the film through private screening.
facebook.com/TheSacredDiseaseFilm/
Erica Scoggins
Born and raised in East Tennessee, Erica Scoggins studied fine art and writing at Belmont University in Nashville before getting her MFA in film directing at California Institute of the Arts. As a postgraduate teaching fellow at Calarts, she taught a hybrid theory/practice course on ineffable moments and unexplainable phenomena in cinema. Her films have screened at the Vienna International Film Festival and the Nashville Film Festival. Though she works in a range of mediums, the moving image and the magic of sound bring forth the most immersive and visceral rendition of the parallel realities that drive her work. Erica now lives in Denver, CO and is training to be a tattoo artist.
THE SACRED DISEASE (28 min, psychological thriller, cerebral, Calarts)
ELEGY FOR MISTER (12 min, psycho-sexual experimental, Calarts)
SEXCAPADES (8 min, comedic drama, Calarts)
THE FEELING (12 min, sci-fi drama, Co-production between Calarts & DFFB)


Every business day, corporate campuses across the country function like small cities requiring highly specialized facilities and logistics management services. This paper will explore effective and efficient Corporate Campus Logistics Services to ensure the efficient flow of materials and people at large multi-building office campuses serving thousands of employees. Corporate facilities, real estate management, logistics and procurement teams as well as commercial real estate management companies are charged with sourcing the services that are the underpinnings of these mega-campuses. It's an effort that spans a wide range—coordinating the receipt and distribution of supplies, equipment and packages; safely transporting thousands of employees as well as suppliers and contractors to locations within the campus; tracking and warehousing countless materials to support daily planned and unplanned workplace needs. Learn more about lowering costs, streamlining operational efficiency and gaining high employee satisfaction.
Business Intelligence for Decision Makers: Actionable Insights for Business Decision Makers.
Although many organizations have made significant investments in data collection and integration (through data warehouses and the like), it is a rare enterprise that can analyze and redeploy its accumulated data to actually drive business performance. In the years to come, as globalization and increased reliance on the Internet further complicate, accelerate and intensify marketplace conditions, actionable business intelligence promises to deliver a formidable competitive advantage to firms that leverage its power.
This white paper presents two case studies that illustrate how Oracle Exadata increased storage capacity for data warehouses by 150%, reduced operational and database running costs by 50%, and on average improved database query performance by 10x.
Traditional databases and data warehouses are evolving to capture new data types and spread their capabilities in a hybrid cloud architecture, allowing business users to get the same results regardless of where the data resides. The details of the underlying infrastructure become invisible. Self-managing data lakes automate the provisioning, reliability, performance and cost, enabling data access and experimentation.
IBM Netezza data warehouse appliances push the limits of analytics by fusing our ground breaking data warehouse appliances with high performance, scalable analytics that can process massive data to solve complex problems orders of magnitude faster than typical solutions. IBM Netezza Analytics, IBM's embedded advanced analytics platform delivered with every appliance, enables the development and deployment of analytics to drive game changing results.
Speed, simplicity and affordability: 3 capabilities businesses need from their warehousing environment. IBM DB2 with BLU Acceleration gives organizations a complete, multipurpose environment to rapidly distill insight from their data, make timely decisions and capitalize on opportunities.
For many years, companies have been building data warehouses to analyze business activity and produce insights for decision makers to act on to improve business performance. These traditional analytical systems are often based on a classic pattern where data from multiple operational systems is captured, cleaned, transformed and integrated before loading it into a data warehouse. Typically, a history of business activity is built up over a number of years allowing organizations to use business intelligence (BI) tools to analyze, compare and report on business performance over time. In addition, subsets of this data are often extracted from data warehouses into data marts that have been optimized for more detailed multi-dimensional analysis.
Business Intelligence (BI) has become a mandatory part of every enterprise's decision-making fabric. Unfortunately in many cases, with this rise in popularity, came a significant and disturbing complexity. Many BI environments began to have a myriad of moving parts: data warehouses and data marts deployed on multiple platforms and technologies – each requiring significant effort to ensure performance and support for the various needs and skill sets of the business resources using the environment. These convoluted systems became hard to manage or enhance with new requirements. To remain viable and sustainable, they must be simplified. Fortunately today, we have the ability to build simpler BI technical environments that still support the necessary business requirements but without the ensuing management complexity. This paper covers what is needed to simplify BI environments and the technologies that support this simplification.
By using the Oracle Exadata Database Machine as your data warehouse platform you have a balanced, high performance hardware configuration. This paper focuses on the other two corner stones, data modeling and data loading.
In addition to high reliability and availability, enterprise mission critical applications, data centers operating 24x7, and data analysis platforms all demand powerful data processing capabilities and stability. The NEC PCIe SSD Appliance for Microsoft® SQL Server® is a best-practice reference architecture for such demanding workloads. It comprises an Express 5800 Scalable Enterprise Server Series with Intel® Xeon® processor E7 v2 family CPUs, high-performance HGST FlashMAX II PCIe server-mounted flash storage, and Microsoft® SQL Server® 2014. When compared with the previous reference architecture based on a server with the Intel® Xeon® processor E7 family CPUs, benchmark testing demonstrated a performance improvement of up to 173% in logical scan rate in a data warehouse environment. The testing also demonstrated consistently fast and stable performance in online transaction processing (OLTP) that could potentially be encountered.
WinterCorp analyzes IBM's DB2 Warehouse and how it addresses twin challenges facing enterprises today: improving the value derived from the torrents of information processed every day, while lowering costs at the same time. Discover why WinterCorp believes the advances in data clustering strategies and intelligent software compression algorithms in IBM's Data Warehouse improves performance of business intelligence queries by radically reducing the I/O's needed to resolve them.
The Accenture Oracle data team has more than 20,000 professionals, who aid in delivering 50 billion transactions a day across more than three exabytes of data for clients globally. Accenture Oracle data specialists recently put the Oracle Autonomous Data Warehouse to a rigorous performance test to provide a real-life application usage experience. The data was then extrapolated and expanded to nine years' worth of data to test the performance. Learn directly from Accenture experts about testing methodology and results that enable them to deliver more data intelligence faster to the enterprise and transform the way people live and work.


text:
Creative Innovation, Episode 3, full interview: Raja Rajamannar, Mastercard CMO
Raja Rajamannar
Mastercard's CMO, Raja Rajamannar, wants to give consumers the chance to become part of the narrative themselves. Here's why.
Mastercard's global chief marketing and communications officer, Raja Rajamannar, says the brand has shifted its Operandus Modi from storytelling to story-making in a bid to resonate with consumers.
Rajamannar does this in a number of ways, aided by an evolved technology ecosystem, with various channels and platforms through which to reach people, namely:
By understanding what matters most to consumers; positioning the brand so it aligns with what consumers are passionate about; integrating every part of the business around connecting with consumers, and building a platform that translates the brand into personal experiences.
This interview is part of the Creative Innovation series, run in partnership with Cannes Lions.


text:
How my grandmother's chutzpah helped Japan's consul save thousands of Jews
Posted on July 6, 2016 in: American Gathering News|Jump To Comments
JTA — The story of Chiune Sugihara – the Japanese consul in Kovno, Lithuania, who disobeyed his government's orders in 1940 and issued transit visas through Japan to thousands of Jews seeking to flee war-torn Europe — wasn't widely known until 1985, when Yad Vashem, Israel's Holocaust memorial authority, honored him as one of the Righteous Among the Nations.
But I grew up hearing Sugihara's story because he saved my father's life. My father, the attorney Nathan Lewin, is a Sugihara survivor.
I also have a family connection to something that few others have known until very recently — the answer to a long-unsolved mystery surrounding Sugihara's rescue of an estimated 6,000 Jews.
Why did the Dutch consul in Kovno, Jan Zwartendijk, begin issuing the "Curaçao visas" – the Dutch endorsements that appeared to permit travel to the island of Curacao, Holland's territory off South America upon which Sugihara relied when issuing visas? Why did Zwartendijk begin writing in Jewish passports that a visa was not needed to travel to Curaçao?
The answer: my late grandmother. Peppy Sternheim Lewin, the recipient of the first Curacao visa, is the "missing link" in the story.
My grandmother was a Dutch citizen, raised and educated in Amsterdam. After she married my grandfather, Dr. Isaac Lewin, she moved to his home country, Poland. When the Nazi army invaded Poland in September 1939, my grandmother's parents and her brother were visiting her in Lodz, my father's birthplace. My great-grandfather promptly flew back to Amsterdam to take care of his business. He later perished at Auschwitz.
My grandmother's mother, Rachel Sternheim, and her brother, Leo Sternheim, were smuggled with my grandparents and my father, who was then 3 years old, over the border into Lithuania.
In Lithuania, my grandmother sought help from the Dutch diplomats because her mother and brother were Dutch citizens and because she had been a Dutch citizen prior to marrying my grandfather. She initially asked Zwartendijk, who was in Kovno, if he could issue her a visa to the Dutch East Indies, which included Java and Sumatra. He refused. So she wrote to the Dutch ambassador in Riga, L.P.J. de Decker. He also turned down her request for a visa to Java or Sumatra.
Refusing to be discouraged, my grandmother, who was then in Vilna – a short trip from Kovno — wrote to de Decker again and asked him whether there was any way he could possibly help her family because it included Dutch citizens. The ambassador replied that the Dutch West Indies, including Curacao and Surinam, were available destinations where no visa was needed. The governor of Curacao could authorize entry to anyone arriving there.
My grandmother again wrote to de Decker asking whether he could note the Curacao or Surinam exception in her still-valid Polish passport. She asked the envoy to omit the additional note that permission of the governor of Curacao was required. After all, she pointed out, she really did not plan to go to Curacao or Surinam.
"Send me your passport," de Decker replied. So she did.
On July 11, 1940, de Decker wrote in her passport in French, "The Consulate of the Netherlands, Riga, hereby declares that for the admission into Surinam, Curacao, and other possessions of the Netherlands in the Americas, no entry visa is required."
My grandmother then showed Zwartendijk what the Dutch ambassador had written in her passport and asked him to copy it onto my grandparents' Leidimas – the temporary travel document they had been issued by the Latvian government after the existence of Poland was officially nullified by the Nazi invasion. On July 22, 1940, Zwartendijk agreed and wrote de Decker's notation on my grandparents' travel papers. That is how my grandparents and my father received the very first Curacao visa.
Relying on Zwartendijk's notation, Sugihara agreed to give my grandparents (and my grandmother's mother and brother, who were still Dutch citizens) transit visas through Japan on their purported trip to Curacao. Sugihara issued their visas on July 26, 1940. The Japanese consul kept a list of the names of the individuals to whom he issued visas. My great-grandmother, Rachel Sternheim, is No. 16 on the list; my grandfather, whose Leidimas included my grandmother and my father, is No. 17, and my great-uncle, Levi (Leo) Sternheim, received Sugihara's 18th visa.
The number of visas Sugihara issued jumped exponentially on July 29, 1940, when hundreds of Jews who had escaped to Vilna learned of my grandmother's successful effort. They crowded outside the Japanese consulate in Kovno (Kaunas in Lithuanian) hoping Sugihara would issue them a visa. Sugihara worked around the clock for a month, issuing 2,139 visas, including to whole families. These enabled the refugees to take the trans-Siberian railroad from Moscow to Vladivostok, and then travel by boat from Russia to Japan, supposedly en route to Curacao.
The story of Sugihara and his rescue is told in a feature film, "Persona Non Grata," that had its premiere in October and is now making the rounds at Jewish film festivals across the country.
It screened recently at the Washington Jewish Film Festival and was shown again in Washington, DC, last month as part of CineMatsuri, the Japanese Film Festival in the Nation's Capital. Although my grandmother's role is one of the unsolved mysteries in the film, my father was asked to share his mother's tale after a CineMatsuri screening.
There are perhaps 100,000 descendants of Sugihara survivors alive today. It is humbling to think that it was my grandmother's initiative and perseverance that opened up this travel route to safety for so many.


text:
A Critical Comparison Between Harry Gamboa Jr's Fire Ants for Nothing (1994) and Loose Change (2010)
© 2013 by Lili Bernard
This essay examines two video works by the Los Angeles-based artist Harry Gamboa Jr: Fire Ants for Nothing (1994) andLoose Change (2010). Both works, though greatly different in content and artistic style, are narratives. Though vastly different, both are anecdotal and metaphoric. Together, they provide a good example of the breadth of diversity within the repertoire of Harry Gamboa Jr.'s thematically-woven work.
In the spirit of the anecdotal nature of Harry's work, I will first share the story of how I became acquainted with the artist and his work.
On April 12, 2007, Harry Gamboa Jr. appeared as a guest lecturer in the annual Rolando Hinojosa-Smith Lecture Series, at University of Illinois at Urbana-Champaign (UIUC). He was invited by the university's Latino Studies Department. The title of Harry's talk was Nuance: Contemporary Images/Text/Concepts/ Works/Words. The description of Harry's lecture stated that the artist would be, "examining the complex interaction of the urban Chicano artist and network culture," and that Gamboa would "reveal how the utilization of various media (photography, video, performance, internet) can affect awareness regarding real-life/real-time and fictional/artificial events." The description also read that "The presentation of various works and the responses to these works ate situated within an overview of his career in a series of storied vignettes."
My sister, Alicia P. Rodríguez, was Associate Director of UIUC's Latino Studies Department, at the time. She still maintains the same position at U of I, only the title of her job has changed, for technical reasons due to a shift in the structural design of the department. Currently, her working title appears as "Academic Advisor and Director of Student Programming."
Alicia has been principally involved in the planning and hosting of the lecture series. Early on in 2007, she called to inform me that Harry Gamboa Jr would be speaking at the series that Spring. At the time, I had never heard of Harry Gamboa Jr. Alicia told me that I should know who Harry Gamboa Jr. is, especially with my being a Latina visual artist-activist who lives and works in Los Angeles.
I set out to learn what I could about Harry Gamboa Jr, and in doing so, became mesmerized by his work. I viewed Harry's artwork as an example of how I might more effectively approach my own arts-activism practice, as a contemporary visual artist and performer who dabbles in video and whose work is informed by issues which pertain to race and racism, which have impacted my life and that of my peers and loved ones.
In September of 2007, my sister Alicia sent me an email with the news that she had spoken to Harry Gamboa Jr about me and had invited him to attend an open studio event at my Chinatown, Los Angeles art studio. I kept my studio as a public space, for five years, wherein I mentored local youth and hosted various public events, including theatrical and musical performances, poetry readings, book signings, film screenings, art exhibitions, and an adult artist collaborative. I called the work effort HABLA: Harvesting Asian, Black, Latino Artists, because I am Chinese, Black and Cuban, and because "habla" means "speak" in Spanish. The purpose of HABLA was to provide a platform for the voices of underrepresented artists. Alicia said that Harry expressed interest in my work with HABLA.
The event at my studio, to which my sister invited Harry Gamboa Jr, was an inaugural celebration for HABLA. Harry told my sister that he would attempt to attend the event with his wife Barbara Carrasco who, like her husband, is a Chicano artist/activist. There were so many people present at the event that I was unable to speak with everyone. To this day, I am still uncertain as to whether or not Harry attended the event. Not having yet made any contact with the artist, I began following Harry Gamboa Jr.'s work. Here is a summary of who Harry is:
A Chicano visual and performance artist, photographer, videographer, essayist and professor, Harry Gamboa Jr. was born in 1951 and raised in East Los Angeles, California. Through an avant-garde exploration of the societal alienation of Chicano culture, Harry's work confronts the racism and classism prevalent in dominant White American culture.
One of the four founding members of the famous Chicano art-activist collaborative known as Asco, Harry Gamboa Jr. is highly published and has exhibited globally in a multitude of museums, art galleries and institutions. The awards which Harry Gamboa Jr has received include grants from the National Endowment for the Arts (1980 and 1987), the J. Paul Getty Trust Fund for the Visual Arts (1990), the California Arts Council (1996) and the Rockefeller Foundation (2004), among others.
I set out to finally meet Harry Gamboa Jr. in the summer of 2011, for the purpose of including one of his video pieces in an art show I was curating which dealt with a topic addressed in Harry and Barbara's work, namely the impact of colonialism on society today. I had received a flyer from Kathy Gallegos, owner and director of Avenue 50 Studio in Highland Park Los Angeles. The gallery is dedicated to exhibiting the works of "artists of color" with a focus in art created by Latino artists. The Ave. 50 Studio website states that they are "grounded in Latino Chicano culture." Although I am not a Chicano artist, I have exhibited there several times.
On September 10, 2011, I attended an opening reception at Ave. 50 Studio for the group art show, entitled Los Vets: a Tribute, curated by Raul de La Sota. The exhibition featured works by Harry Gamboa Jr and his wife Barbara Carrasco, along with their legendary Chicano artist peers. I went to the opening with the hope of introducing myself to Harry and his wife Barbara Carrasco, and inviting them to participate in the anti-colonialism show which I was curating. To my delight, the husband and wife artist-activist duo were there when I arrived. I promptly introduced myself, told them about the exhibition and beckoned them to participate. They graciously accepted my invitation and allowed me to spontaneously videotape them speaking about the works of theirs which they would like to submit for the group show I was curating.
The exhibition which I curated was entitled, Colonialism: The Collective Unconscious. It opened on the weekend of Columbus Day, on October 9, 2011, at the William Grant Still Arts Center, which is a facility of the City of Los Angeles Department of Cultural Affairs. Thanks in part to the included works of Harry Gamboa Jr and Barbara Carrasco, the show was ranked number five in the Huffington Post year end review, Top 11 L.A. Art Shows of 2011, written by art critic Mat Gleason.
The work of Harry's which I selected for the show, was his avant-garde video, Fire Ants for Nothing, created in 1994. It was scripted by poet-musician, Ruben Guevara, who performs as the solo-subject of the video. I chose, for the publicity image of the exhibition, a still frame from Harry's video. It is an image of Ruben Guevara, wrapped loosely in a stiff clear plastic sheet, huddled in a fetal position on a gritty urban sidewalk in Los Angeles. Chromatically, the image is a monotone magenta.
I first watched Fire Ants for Nothing on my home computer, after having picked up the DVD from Barbara Carrasco at a Starbuck's Café near their home in Santa Monica. Within seconds of watching the video and hearing the voice-over of Ruben Guevara's emotional contemporary poetry, I began crying. I consecutively watched the video three times over again, each time deeply moved, each time crying. It was an entirely visceral and spiritual experience.
The video is a poetic narrative of a contemporary Chicano man who is proverbially "down and out on his luck." The scenery is urban Los Angeles. It appears that some misfortune occurred in the man's life, prior to the scene which opens with him. The scenario inspires questions. Was the subject recently fired from his job? Or has he been unemployed for too long? Did he find himself suddenly homeless? Was he pushed to the edge and did he commit a crime? Is he on the verge of committing suicide?
In Fire Ants for Nothing, Harry Gamboa junior uses metaphor and analogy while juxtaposing the organic against the synthetic. Natural elements such as dirt on the ground, twigs and insects unfold into scenes where synthetic and man-made materials such as plastic, hardened cement of city sidewalks, and brick and mortar of Downtown LA buildings, clash against one another, while sheltering and suffocating the softness of a broken-down man Chicano man.
Though contemporary in subject-matter and content, the video evoked in me mental imagery of the spirit of my ancestors. While watching this collaborative effort between Harry Gamboa Jr and Ruben Guevara, images of my indigenous Cuban ancestors, toiling at the hands of their colonialist oppressors pervaded my thoughts. I will now critically exam Harry Gamboa Jr's Fire Ants for Nothing to reveal how the artist metaphorically deconstructs the effects of White dominant culture upon Chicano urban culture, thereby alluding to the impact of colonialism and its oppressive methodologies that have plagued our nation from the moment the conquerors stepped foot onto the New World.
The video begins with the words, Fire Ants for Nothing in red text, flashing tentatively five times against a black screen. We open to a close-up of two or three tenacious ants meandering about a desolate flat patch of dirt, where twigs and tiny pebbles are scattered about. The ambience is yellow, accented with magenta highlights. Busy at work, the ants crawl in and out of a singular hole in the ground which appears as a navel in the center of the screen.
Simultaneously, Ruben Guevara's voice is heard chanting lowly, as if purging his soul of subconscious streams of frustrated thought which stifle any possibility of joy. As the ants labor in and out of the circular crevice, carrying objects twice their size, Ruben's voice is heard murmuring the despair of a man who really could be any man, but in this case is a young Chicano man bewildered and frustrated in Downtown L.A. The man rants,
"It's become a fucking joke. It's all become a fucking joke. Working, struggle, you struggle, you slave, to make, to make a few fucking cents, to make just to get ahead a little bit. What happens, it's just, naw nah, it's blowing, get's blown, it just get's blown away like a fucking mountain of an ant, an ant hill. All that work can be blown out, can be blown out, all right like the wind."
But what's the wind? Nothing but energy, it's blowing, it's blowing, it's blowing, it's blowing in my face, in my brain, blowing in my blood stream. It pushes me, yeah, it pushes it pushes . . . to what, to what to what?
Aimless, aimless ant; I feel like an aimless ant some time, but no, naw, naw, naw, naw. Keep going man, something matters, what matters, man. Your humanness, your humanness, you're human, you're a human being, not an animal, keep moving, keep moving, keep working, keep working, work, work, work, work! Gimme a fucking break, gimme a fucking job and I'll work. I'm working, I'm working, I'm working! Fly, fly, fly, fly, flying!"
While watching the young Chicano man bemoan about his victimization, about the struggles he faces in capitalistic 1994 Urban L.A., I revert to images of my Siboney (Cuban indigenous) ancestors, enslaved by conquistadors who stole everything they set their eyes upon and viewed the natives not as humans but as animal to be driven and slaughtered, like working ants to be used, abused and extinguished.
"Fly, fly, fly," reminds me of my Siboney forbearers jumping off cliffs in Matanzas, yelling "Yumurí," in their broken Spanish, which they thought meant, "I die," as they soared in suicide to the river below, extinguishing themselves.
Such are the images which fill my mind as I watch the ants roam across the screen, laboring and carrying pebbles and sticks in an out of the hole in the ground. All the while, Ruben Guevara's voice-over fluctuates passionately from breathy whispers to low moans, meshed into a background music comprised of four cosmic-sounding dreary notes, which alternate back and forth in a dizzying, trance-inducing, monotonous sea saw-like pattern, dissonantly reverberating,.
"Run, run, run, hide, hide, hide! You cannot hide! Get up, get up! Get up, get back, get, get back, you, run, run, run . . ." urges Ruben Guevara's voice-over, before it fades as the ants at work also fade to black, and as images of my indigenous ancestors running from their captors pervade my thoughts.
A negative remnant in red of the navel in the ground flashes once in the center of blackness, before the words, "director Harry Gamboa Jr, also in red text, scroll up and flash eerily and tentatively two times across the screen before disappearing.
We open to a gritty urban city sidewalk, from the view point of an ant. The color theme is a monotone magenta. The camera is held low to the ground as the rough texture of the stained, chipped sidewalk passes before our eyes in an angular and very fast motion, like the movement of ants darting here and there. The camera sweeps lowly over discarded tissues and a stepped-on empty carton of beer, before glimpses of Los Angeles city skyscrapers flash in the background. It's like we've traveled in time.
A flattened stained cardboard box reveals Ruben Guevara sitting atop it. His dark clothing is contrasted against the rigid see-thru plastic which envelope his crouching body, covering his face. He peers from the plastic and we momentarily catch a glimpse of his anxious face as he quickly recoils at the sound of a car passing by and hides his face again in the sheer plastic angular plastic which crinkles above the sound of the monotonous background music.
Who is this man? What has happened to him? Why is he crouched in a fetal position, against a stark brick wall, painted white, as he hides in a clear plastic sheet in vain? Does he see the world as a monotone magenta as I see the environment around him?
"Can't handle it, Can't handle it!" He warns as he rubs the chin under his penetrating eyes into which beads of perspiration drip, confusing sweat with tears. "I can't handle it! I don't give a fuck! I'm not a fucking ant! No more work! No more light! Fuck it!" he cries as the camera zooms into his weeping face, before he wraps the plastic around his head, like a hood, and the crinkling sound of the rigid plastic collides with the sounds of the car motors and horns in the background.
For a moment I lose thought of my ancestors and watch the suffering subject as he rises and paces alongside the building, wrapped in plastic, like some synthetic zombie shifting down the city sidewalk. For a moment the magenta turns to normalness, but is quickly interrupted by black and white as a strobe affect provides a tenuous feeling on the subject now like a moving abstract colorless painting, forcefully shifted across the TV screen.
Black and white turn to purple as the camera zooms into Ruben's hand. Once again, I am reminded of my indigenous Cuban ancestors and of their hands which were severed from their bodies, because they did not bring the ration of gold which the conquerors commanded they bring. The camera zooms into Ruben's finger pointing at a lone ant on the pavement, following it relentlessly, while Ruben's voice-over is heard frustrated, angry, victorious, yelling,
"Right there! The fucking ant! Right there! The last, last, last mother fucker! But you know what?! That mother fucker is alive." Once again I am reminded of my Siboney forbearers who they say were nearly exterminated, during the Spanish conquest of my birth island. Was my great grandmother, Clemencia, the last survivor, like the ant? They say she was a full-blooded Siboney.
Purple changes to a yellowish black and white of a night-light effect, as more ants suddenly appear, roaming chaotically across occasional shards of grass peeking out from in between the crevices which separate the slabs of city sidewalk. Each frantic ant projects a ray of light as they meander to and away from the giant hand which glows white from within the fleshy webs which connect the fingers.
"Is that what it's for? Is that what it's for? Is that the inspiration? Is that it? Write it! Let it flow, run with it! Wait! Yes, no, yes, no!" Ruben Guevara whispers frantically as the camera stays tight on his fingers, spread wide open, chasing and enticing the ants to come hither, seducing the insects in hushed tones as he says, "Go for the light," like some passage of scripture.
Suddenly the night-light effect turns to normal light and then immediately to black and white as the camera maintains a close up of the hand which now squashes the ant on the sidewalk, as Ruben's voice-over is heard saying, with an air of vengeance and vindication,
"That's right! That's how I feel! That's how I feel! Like a fucking ant! Like a squashed mother fucking ant on the fucking sidewalk of fucking LA!" as he squashes the dead ant some more into the pavement, with the palm of his hand. Is he the ant extinguishing himself?
The camera zooms into Ruben's face, uncovered from the plastic, as he says more calmly, "Now your back to dust, Ese! That's where I go. That's where I'm going. That's where I go."
The camera zooms away from Ruben's face and reveals the city sidewalk, and the building with the LA city skyscrapers in the background. Ruben, now far away, says in a voice-over,
"Yeah, you can start over again. You can do it. There you go again. Push the mother fucking rock up the hill. Watch out you don't trip, you trip out! Watch out you don't trip in. "
And the urban scenery transforms to the flat patch of dirt again, this time, purple in tone. Ants, many of them, scurry in and out of the crevice in the middle of the screen that appears again like a navel. Only this time there has been a transformation. Around the navel is a gentle abyss, like a funnel, shaped in angels wings which gently gives way to the dark hole in the middle, surrounded by two large white accentuating pebbles that perhaps were moved to let the ants in and out.
I naturally reverted to thoughts of my ancestors, to death and dying, to the life hereafter, to the heavens full of so many souls, to the spirit and to the Christ whom my indigenous and slave ancestors accepted as Savior, who in spirit, rolled away the rock from the cave where Christ was buried, so that He could emerge alive again after his death on the cross.
Such is the imagery which Harry Gamboa Jr's very urban and contemporary Fire Ants for Nothing elicits in my mind.
Similarly, Harry Gamboa Jr's video Paper Cut, which he made sixteen years after Fire Ants for Nothing, also provokes in me thoughts about the effects of colonialism. The two videos are contrastingly different, yet touch on binary aspects of the same social dynamic. The focus in Paper Cut can be interpreted as not centering on how colonialism and capitalism affect the mindset of the disenfranchised (as it is in Fire Ants for Nothing), but rather on how colonialism has affected the psyche of the oppressor, or so I see it.
The two works are not just thematically contrasting, but they also compositionally and aesthetically very different from one another. Whereas in Fire Ants for Nothing, Harry Gamboa Jr is behind the camera, filming a character who sculpts a narrative; in Paper Cut, Harry Gamboa Jr is the subject. Unlike Fire Ants for Nothing where different scenes, in alternating color tones, flash across the screen and the camera meanders, following subjects who roam about the screen as avant-garde music plays in the background; in Paper Cut, the camera remains stationary from beginning to end, as does Harry remain stationary in front of the camera, looking straight into the lens to whom he speaks, devoid of any background music.
In Paper Cut there are no props, no gadgets, no synthetics, no urban elements, no action. There is only Harry Gamboa Jr, in a black T-shirt, outside, in front of some green shrubs, facing the camera, stationary, and talking. He tells a story with no particular expression on his face, unlike Ruben Guevara's face which was aching with expression. In Paper Cut, Harry radiates no discernible emotion in his countenance or in his voice, outside of occasional amusement that creeps in, as he tells the story of man who is cut by paper. He begins,
"So I was laughing while he was telling me the story of great pain and struggle. I just couldn't help it, found myself giggling uncontrollably, because I guess I've been there. And I wasn't so sure what he was so concerned about. There is after all going to be another day. Isn't there? He wasn't really harmed in a real extreme way. It was only really a paper cut. It was only nothing he should really be concerned about. I mean there are bigger things to worry about."
Here, Harry mocks a subject whom we do not see. He scoffs at the invisible person for exaggerating what he perceives to be a mundane problem. Is Harry setting up the anecdote as a comparison between the trying life of a person of color and the trifling concerns of a privileged White man? And what are the concerns of the privileged as opposed to those of the disenfranchised?
Harry goes on, "But he was more impressed about what kind of paper it was – what the paper said. He wouldn't allow me to read it. I wanted to understand what it was."
Is Harry speaking about the tactics of gatekeepers, the methods they employ to keep other interested and unwanted parties out? Or is he talking about something else? The next sentence which stems from Harry's mouth, links this video with Fire Ants for Nothing. He says,
"I wasn't sure if it was a suicide note," but then Harry Gamboa Jr very quickly changes the possible urgency to the mundane again, continuing, "Or maybe it was a receipt or a bill or some kind of — maybe it was a birth certificate. I wasn't sure. But every time he tried to touch that paper, it would cut his fingers."
Could Harry be speaking of the codification in the language of the gatekeepers of academia, of the secrecy in their rhetoric and the loftiness of the documents they write and maintain at a distance from others who are less privileged? Then Harry tries to reason with his antagonist by suggestion some common sense solutions which the antagonist refuses. Harry suggests,
"I said, uh, listen – why don't you wear gloves? Why don't you have some friend hold it for you? And he says no, no, it's my responsibility. And I know he was a responsible kind of person, but really, it was not that important of an event, I wasn't sure why he did that, him and his bloodied fingers. "
Again, Harry is mocking the invisible subject for senselessly complaining about trifling problems which could be very easily remedied. Is Harry implying that it must be so easy to be a White man? Is the man even White?
Next, Harry's frustration in the man turns into suspicion.
"Maybe he's always had blood on his hands. Maybe it really was a confessional note. Maybe it was something he's done. I don't know. If only I could have read the thing. I could have explained to him and interpreted the fact that it is an invisible form of ink – something that should never be read, something that should never be deciphered. I think it was a blank sheet of paper."
Is Harry implying that the mind of the man, who's trifling concerns he mocks, is as vacuous as is the history he created bloodied by the hands of the oppressor's own forbearers? Or is Harry saying that the actions of the privileged negatively impact the lives of the disenfranchised. Or is he talking about war?


Odisha CHSE Supplementary Time Table 2019: Orissa Board 12th Time Table 2019, Odisha board has given a notification that 12th board examination is going to be held in March 2019 for the students who are appearing in the board exams class 12. Candidates will able to see their 12th class timetable in January 2019. Students can check the official website to download the date sheet whenever it published or not in 1st week of January 2019. Odisha board is the education board which controls the whole education system, programs, and any other examination. The Board is responsible for promotion and development of secondary education in Odisha state. The board was set up in 1960. The main headquarters of the board is in Bhubaneshwar. It is a state agency of the Government of Odisha in India.
Odisha CHSE 12 Date Sheet 2019: Orissa CHSE 12th Class Date Sheet 2019, Scholar who belongs to The Odisha or Orissa State Board of School Education Board (BSE And CHSE) are apprising that 12th Class Date Sheet will annunciate in the month of January 2019 on the official website. Odisha Board 12th Exam 2019 is going to the conduct in March Month in 2019. Students (any faculty) who are going to appear in this examination can download the date sheet from the official website in January. Time Table helps the students in their examination to know about the schedule of the paper date wise. Students should check the timetable properly and manage their schedule according to the timetable. Odisha CHSE 12th Exam Routine 2019 or Odisha CHSE 12th Exam Schedule 2019 or Odisha CHSE 12th Exam Dates 2019 has uploaded in February on the authoritative website.
Odisha CHSE Plus Two (Arts, Science, Commerce) Time Table 2019: The exam schedule of Odisha 2019 will be released soon in the month of February 2019-2020. Candidates who applied for this 12th class examination will grab the Odisha +2 Date Sheet 2019 from the official website of the Odisha or Orissa Board. For you convenience, we have given the process to download the Odisha Higher Secondary Exams Plus +2 Time Table/Exam Dates 2019 from our website. You can also download the model papers and exam syllabus along with call letter to achieve good marks. Don't forget to print out and carry the Odisha CHSE Admit Card 2019 with you before entering the examination hall. Orissa/Odisha CHSE Plus Two Admit Card 2019 or Odisha CHSE +2 entrance card 2019 or Odisha CHSE Routine 2019 will be release very soon. After regular exam then CHSE Board also provides the Odisha CHSE Compartment/Supplementary Time Table 2018 or Odisha CHSE Plus Two Reappear/Re-Exam/Re-Attempt Date Sheet 2019 or Orissa/Odisha CHSE +2 Improvement/Betterment Time Table 2018 in the month of May 2019.
Board Of Secondary Education has been released the Odisha CHSE Plus Two Time Table 2019 in January 2019 at the official website. Here we are also providing Odisha 10+2 CHSE Time Table 2019 For Arts, Science & Commerce & Also for Vocational. Students can download now Orissa/Odisha CHSE Time Table 2019, Date Sheet, Programme, Scheme, Exam Routine, Exam Schedule 2019 and check below the Odisha CHSE 12th Exam Dates 2019 and soon after this exam BSE Odisha also provides Odisha CHSE Plus Two Compartmental/Supplementary Time Table 2019 (Instant) which is also known as Odisha 12th Class CHSE Supply Time Table 2019 in May 2019. Now students can download regular/private Odisha Board CHSE Time Table 2019 and save it on your Mobile Phone or PC and take a printout for further use. Odisha CHSE Plus Two (+2) Time Table 2019 or Orissa/Odisha CHSE Date Sheet/Time Table 2019 will be available in January 2019.
First, click on the link which we provide here to download Odisha 12th Schedule 2019.
Then click on Odisha Board CHSE Class 12th Plus Two Time Table 2019.
Now you will get your Odisha +2 (Plus Two) Time Table 2019.
Who can eligible for compartmental/supplementary exam?
kindly change the time table..more time is being required for physics …….
Sir , I want to have statistics sample PAPER 2018.
Please change the examination date.
Is there a provision to appear imprrovement exam in chse odiisha board.
I want to improve the score of my selected subjects. If yes then what are the procedures to be followed?
Copyright © 2019 | Odisha Board 10th and 12th Class Results 2019 | All Logos & Trademarks Belongs to Their Respective Owners.


text:
Q: Can't launch app on Mac OS X I receive error LSOpenURLsWithRole() failed for the application with error -10810 The Problem
I am trying to launch an app (Genetic Network Analyzer) but it fails silently. When using open gna.app the following error message is produced:
LSOpenURLsWithRole() failed with error -10810 for the file /Applications/GNA_8.7.1.1/gna.app

I believe the issue has to do with my Java Run time Environment (the program is written in Java). I do not know how to correct this issue.
Technical Stuff:

*

*My operating system is Mac OS X version

*I have both the latest version of Java, Java 8 Update 91

*I have also installed legacy Java

*The info.plist file for the app
<?xml version="1.0" encoding="UTF-8"?>
<!DOCTYPE plist SYSTEM "file://localhost/System/Library/DTDs/PropertyList.dtd">
<plist version="0.9">
<dict>
<key>CFBundleName</key>
<string>gna</string>
<key>CFBundleExecutable</key>
<string>JavaApplicationStub</string>
<key>CFBundleIconFile</key>
<string>app.icns</string>
<key>CFBundleInfoDictionaryVersion</key>
<string>6.0</string>
<key>CFBundlePackageType</key>
<string>APPL</string>
<key>CFBundleSignature</key>
<string>????</string>
<key>CFBundleIdentifier</key>
<string>com.install4j.7878-5124-9390-0704.96</string>
<key>CFBundleVersion</key>
<string>8.7.1.1</string>
<key>CFBundleShortVersionString</key>
<string>8.7.1.1</string>
<key>CFBundleGetInfoString</key>
<string>8.7.1.1</string>
<key>CFBundleDevelopmentRegion</key>
<string>en</string>
<key>CFBundleAllowMixedLocalizations</key>
<true/>
<key>NSHighResolutionCapable</key>
<true/>
<!-- I4J_INSERT_DOCTYPE -->
<key>i4j.baseDir</key>
<string>$APP_PACKAGE/../</string>
<key>LSMinimumSystemVersion</key>
<string>10.7.3</string>
<key>i4j.appId</key>
<string>7878-5124-9390-0704</string>
<key>i4j.allowPassthrough</key>
<true/>
<key>i4j.minVersion</key>
<string>1.7</string>
<key>i4j.maxVersion</key>
<string>1.7</string>
<key>i4j.vmIdPrefix</key>
<string></string>
<key>JavaVM</key>
<dict>
<key>MainClass</key>
<string>com.install4j.runtime.launcher.MacLauncher</string>
<key>VMOptionArray</key>
<array>
<string>-Dfile.encoding=UTF-8</string>
<string>-Diogma.home=$APP_PACKAGE/..</string>
<string>-Diogma.user.home=$APP_PACKAGE/..</string>
<string>-Diogma.user.externals=$APP_PACKAGE/..</string>
<string>-Diogma.user.data=$APP_PACKAGE/..</string>
<string>-Diogma.licenser=default</string>
<string>-Dlog4j.debug</string>
<string>-Dlog4j.configuration=iogma/platform/log4j.properties</string>
<string>-Dswing.defaultlaf=net.infonode.gui.laf.InfoNodeLookAndFeel</string>
<string>-Duser.language=en</string>
<string>-Diogma.application.name=GNA</string>
<string>-Diogmadatabase=false</string>
<string>-Dinstall4j.launcherId=96</string>
<string>-Dinstall4j.swt=false</string>
<string>-Djava.library.path=$APP_PACKAGE/../Externals/Ports/x86_64-darwin/lib</string>
<string>-Dexe4j.moduleName=$APP_PACKAGE</string>
</array>
<key>OptionsFile</key>
<string>$APP_PACKAGE/Contents/vmoptions.txt</string>
<key>ArgumentArray</key>
<array>
</array>
<key>SplashFile</key>
<string>$APP_PACKAGE/../.install4j/s_1qq6wu9.png</string>
<key>JVMVersion</key>
<string>1.4+</string>
<key>ClassPath</key>
<string>$APP_PACKAGE/../.install4j/i4jruntime.jar:$APP_PACKAGE/../bin/*:$APP_PACKAGE/../GNA/bin/*:$APP_PACKAGE/../plugins/iogma.core.platform/bin/*</string><!-- I4J_INSERT_CLASSPATH -->
</dict>
</dict>
</plist>

Additional Notes:

*

*I have also contacted the developer, but this program does work on other computers running Mac OS X 10.11.5.

*I have looked at the following posts and they do not answer my question as they are either for another operating system, they are not trying to launch an app bundle, they are trying to create an program I am not, or the solution does not work for me.

*

*What makes an OS X app not open with the error "LSOpenURLsWithRole() failed with error -10810"?

*AppBundle throws "LSOpenURLsWithRole() failed with error -10810" after compiling with java 7 or 8

*Autodetect JRE Version and Install the required Version on MAC OS X before launching an application

*Install4j - Mac OSX Single Bundle with Java 7 - app launch error

*JWrapper example application fails to launch on Mac OS X 10.8.5

*I also do not know how .plist files function so please be aware of that when answering my question.


Greece, as most of Europe, sets the clocks forward one hour on Sunday, March 31, 2019, when Daylight Saving Time (DST) starts. Greece and most countries in Europe spring forward one hour at 03:00 am, it means clocks will show 04:00 am. Local time for the change is different in each time zone. European countries synchronize their DST, which starts on the last Sunday of March and ends on the last Sunday of October. Participating countries are: The European Union (EU), including Bulgaria, France, Germany, Italy, Poland, Spain, the United Kingdom and most other European countries, including Norway and Switzerland. Armenia, Belarus, Georgia, Iceland, Russia, and Turkey don't use DST any more but remain on standard time all year. In 2016, Turkey decided to end DST permanently. The Turkish occupied territory of Northern Cyprus still follows the rest of Cyprus and will set the clocks forward one hour on March 31.
In September 2018, the European Commission issued a draft directive to permanently scrap DST in the EU. In a public survey, more than 80% of 4.6 million respondents voted to put an end to seasonal clock changes altogether, but the EU Member States called for more time before putting an end to the practice. On 4 March 2019, the European Parliament Transport and Tourism Committee approved the Commission's proposal by 23 votes to 11. The start date will however be postponed until 2021 and the Commission must ensure that countries' decisions to retain winter or summer time are coordinated and do not disrupt the internal market. The proposal must now be put to a vote of the full European Parliament, and then approved by the Council of Ministers. Countries have a margin until April 2020 to decide which time they will keep permanent!


Each year, cataracts affect millions of people, including more than half of all Americans aged 60 and older. A cataract is a painless clouding of the eye's natural lens that is caused by a buildup of protein. A cataract can form in one or both eyes. If left untreated, cataracts worsen over time and interfere with everyday activities such as reading or driving. Night vision is usually most affected. When cataracts are in their early stages, people are helped by brighter lighting. As cataracts get worse, however, most people require surgery.
In combination, such tests help determine whether a patient has cataracts, or whether her or his vision problems have some other cause. They also assist in evaluating the degree of visual impairment, and whether surgery should be performed.
Yellow-tinged vision is also an indicator of cataracts.
If cataracts begin to interfere with reading ability, work, night driving or other daily activities, cataract surgery may be recommended.
If cataracts are in both eyes, surgery is performed one eye at a time. Cataract surgery is the most common surgical procedure in the United States.
Left untreated, cataracts cause serious visual impairment. In most cases, however, they can be effectively treated with surgery once they become intrusive in everyday life.


Quit Smoking: You Only Need to Succeed Once!
There's nothing like stating the obvious because it's true. Once you have quit smoking for long enough and feel confident that you won't smoke again, you have succeeded. Having reached that point myself some time ago, I'm thrilled to know that I finally managed to defeat my tobacco addiction.
The first several times I tried, it wasn't easy. A lot of the quitting happened in my head but didn't translate into the desired action. I knew that I wanted to quit, but I couldn't get started. There was always tomorrow. At times, I felt really determined to succeed before going to bed and woke up the next morning wondering what on earth I had been thinking the previous night. When I did have the resolve to quit, it often lasted only a few hours before I caved in. Most times, I wasn't able to hold out for more than a day, and although I once managed to quit for a week, deep-down I wasn't convinced that I would manage to stay quit. After all, I was a smoker. In fact, there were times when I felt that there was no point in even contemplating quitting smoking. I simply gave up.
There is nothing unique to my story. Many smokers go through these same thought processes, telling themselves that they want to quit, but not managing to stay away from tobacco addiction. That is the nature of the beast. Smoking gradually transforms you into a smoker. Smoking becomes a part of your identity, defining who you are. After enough cigarettes, you no longer just smoke; you are 'a smoker'. There are some people that manage to quit just like that, but for the vast majority of people, it is a struggle. Most people have to try a couple to several times before they succeed.
Shirking the 'smoker' identity is probably the hardest part about quitting. It requires a change of mindset and quite some time. Both go hand in hand. When you first quit, it may feel like you're a smoker who's trying to not smoke. The time between your last cigarette and the present isn't long enough to declare victory. You're still a novice ex-smoker, with little experience. More time and practice is needed before you can start thinking in terms of detachment from smoking. You may go through one or more periods of hesitation and self-doubt. After a while (weeks, months?), you will get to the point where you feel more confident and optimistic. Finally, you will get to a point where there has been enough time and distance between when you quit and the present for you to think less and less about smoking.
The key thing with this process is to believe that you can manage life without smoking. Millions have succeeded before you, and millions continue to try every day. Given the right mindset and enough time, many of them will cross over from being a smoker to becoming a confident ex-smoker. It may take a couple or more attempts before you manage to reach your goal, but keep trying!
You only need to succeed once!
Previous Article What to do Instead of Smoking?