text:
require 'spec_helper'
module WLang
  class Compiler
    class DialectEnforcer
      public :find_dispatching_method
    end
    describe DialectEnforcer do

      let(:dialect){
        WLang::dialect{
          tag('$')  do |buf,fn| buf << "$"  end
          tag('!$') do |buf,fn| buf << "!$" end
          tag('*')  do |buf,fn1,fn2|        end
          tag('%', [WLang::Dummy]) do |buf, fn| end
        }.factor
      }

      describe 'find_dispatching_method' do
        let(:e){ DialectEnforcer.new(:dialect => dialect) }
        it 'works on exact matching' do
          e.find_dispatching_method("$").should eq(['', :_tag_36])
        end
        it 'takes the most specific' do
          e.find_dispatching_method("$").should eq(['', :_tag_36])
          e.find_dispatching_method("!$").should eq(['', :_tag_33_36])
        end
        it 'recognizes extras' do
          e.find_dispatching_method("@$").should eq(['@', :_tag_36])
          e.find_dispatching_method("@!$").should eq(['@', :_tag_33_36])
        end
        it 'recognizes missings' do
          e.find_dispatching_method("#").should eq(['#', nil])
          e.find_dispatching_method("@#").should eq(['@#', nil])
        end
      end

      def optimize(source)
        DialectEnforcer.new(:dialect => dialect).call(source)
      end

      let(:unknown){[
        [:wlang, '!', [:fn, [:static, "hello"]]],
        [:strconcat, [:static, "!"], [:static, "{"], [:static, "hello"], [:static, "}"]]
      ]}
      let(:hello_fn){[
        [:fn, unknown.first],
        [:fn, unknown.last]
      ]}
      let(:hello_dollar){[
        [:wlang, '$', hello_fn.first],
        [:wlang, '$', hello_fn.last]
      ]}

      ### recursion rules

      it 'recurses on template' do
        source   = [:template, hello_dollar.first]
        expected = [:template, hello_dollar.last]
        optimize(source).should eq(expected)
      end

      it 'leaves [:static, ...] unchanged' do
        source = [:static, "Hello world"]
        optimize(source).should eq(source)
      end

      it 'leaves [:strconcat, ...] unchanged if no tag' do
        source = [:strconcat, [:static, "Hello "], [:static, "world"]]
        optimize(source).should eq(source)
      end

      it 'recurses on [:strconcat, ...] to optimize further' do
        source   = [:strconcat, unknown.first]
        expected = [:strconcat, unknown.last]
        optimize(source).should eq(expected)
      end

      ### exact symbols

      it 'optimizes on exact symbols' do
        optimize(hello_dollar.first).should eq(hello_dollar.last)
      end

      it 'detects extra symbols' do
        source   = [:wlang, '@$', hello_fn.first]
        expected = [:strconcat, [:static, "@"], hello_dollar.last]
        optimize(source).should eq(expected)
      end

      ### unknown tags

      it 'recognizes unknown tags' do
        optimize(unknown.first).should eq(unknown.last)
      end

      it 'recognizes unknown tags even if enclosed' do
        source   = [:wlang, '$', [:fn, unknown.first]]
        expected = [:wlang, '$', [:fn, unknown.last]]
        optimize(source).should eq(expected)
      end

      ### high-order wlang

      it 'applies dynamic dispatching on high-order wlang' do
        source   = [:wlang, '$', [:fn, hello_dollar.first]]
        expected = [:wlang, '$', [:fn, hello_dollar.last]]
        optimize(source).should eq(expected)
      end

      ### arity 2

      it 'supports tags of arity 2' do
        source   = [:wlang, '*', hello_fn.first, hello_fn.first]
        expected = [:wlang, '*', hello_fn.last, hello_fn.last]
        optimize(source).should eq(expected)
      end

      ### missing blocks

      it 'detects missing blocks on arity 1' do
        source   = [:wlang, '$']
        expected = [:wlang, '$', [:arg, nil]]
        optimize(source).should eq(expected)
      end

      it 'detects missing blocks on arity 2' do
        source   = [:wlang, '*', hello_fn.first]
        expected = [:wlang, '*', hello_fn.last, [:arg, nil]]
        optimize(source).should eq(expected)
      end

      ### trailing blocks

      it 'detects trailing blocks' do
        source   = [:wlang, '$', hello_fn.first, hello_fn.first]
        expected = \
          [:strconcat,
            [:wlang, '$', hello_fn.last],
            [:static, '{'],
            hello_fn.last.last,
            [:static, '}']
          ]
        optimize(source).should eq(expected)
      end

      it 'detects trailing blocks on arity 2' do
        source   = [:wlang, '*', hello_fn.first, hello_fn.first, hello_fn.first]
        expected = \
          [:strconcat,
            [:wlang, '*', hello_fn.last, hello_fn.last],
            [:static, '{'],
            hello_fn.last.last,
            [:static, '}']
          ]
        optimize(source).should eq(expected)
      end

      ### dialect switching

      it 'introduce dialect switching mechanism' do
        source   = [:wlang, '%', hello_fn.first]
        expected = [:wlang, '%', [:modulo, WLang::Dummy, hello_fn.last]]
        optimize(source).should eq(expected)
      end

    end # describe DialectEnforcer
  end # class Compiler
end # module WLang

redpajama_set_name: RedPajamaGithub


Israel is also turning its back on Europe. In fact, many Israeli politicians admire Russian President Vladimir Putin.
Israeli politicians have made no secret of their admiration for Putin, a tough, ruthless leader whose resolve -- and preference for military solutions -- stands in sharp contrast to the caution and indecision of Barack Obama. Putin is also, in Israeli eyes, refreshingly indifferent to human rights. As relations with the Obama administration have cooled … Israel has increasingly turned to Russia, as well as to China, from which it now imports more than it does from the US.
&ellips; Writing in 2003, at a time of high Euro-optimism, Tony Judt described Israel as a 'characteristically late 19th-century separatist project' in 'a world that has moved on, a world of individual rights, open frontiers and international law &ellips; Israel, in short, is an anachronism.' Today, it is Judt's cheerfully Hegelian description of 'a world that has moved on' that seems out of step with the neo-tribal spirit of the times. Israel does not seem like such an outlier in a world reshaped by the drive towards ethnic and religious separatism, the militarised policing of frontiers, and the emergence of authoritarian populist governments.
"It's Not Only the U.S. That Israel Resents"


text:
Caratteristiche tecniche

Carriera

Palmarès

Club

Competizioni nazionali

Sporting CP: 2015

Sporting CP: 2016, 2018

Sporting CP: 2017-2018, 2020-2021

Competizioni internazionali

Sporting CP: 2014-2015

Sporting CP: 2018-2019, 2020-2021

Sporting CP: 2019-2020, 2021-2022

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
Maine Acts of Kindness: Finding new ways to support cancer patients
The co-owners of a growing cosmetic company have purchased $12,000 worth of goods from local small businesses that will be combined into gift boxes for cancer patients.
By Steve CraigPress Herald
Editor's note: This is the latest installment in an occasional series called Maine Acts of Kindness, highlighting volunteer and philanthropic efforts during the pandemic.
Sarah Kelly, left, and her sister Leah Robert, co-owners of SaltyGirl Beauty in Kennebunk, are using their beauty products company and associated nonprofit foundation to help to support small businesses during the coronavirus outbreak and, in turn, continue their mission to support adults going through cancer treatment. Gregory Rec/Staff Photographer
KENNEBUNK — Even before they officially started their SaltyGirl Beauty line, sisters Sarah Kelly and Leah Robert were working to improve the emotional well-being of local adult cancer patients.
It's a deeply personal cause for both women. Kelly, 41, a mother of three children 6 and younger, is in full remission from stage 3 breast cancer. Robert, 34, is an oncology nurse at New England Cancer Specialists' Scarborough office.
Last year, as their wellness cosmetic brand doubled its year-over-year sales, the two busy mothers were able to raise $36,000 at their fourth annual gala for their nonprofit, Foundation4Love. That money was turned into special nights out, weekend getaways and other emotionally recharging events so cancer patients can "disconnect from their cancer and connect with their loved ones," as Robert puts it.
This year they expected to do even more, both in terms of their philanthropy and the growth of their business.
Then the coronavirus pandemic hit. The 200-plus person gala was canceled. Their business, which had doubled its year-over-year sales in 2019 and was projected to reach $250,000 in sales in 2020, saw its wholesale business disappear overnight, a 40-to-50 percent loss of monthly sales.
So the sisters adjusted their plans – but not their mission.
They would continue to brighten the lives of cancer patients and, in the process, help some small businesses also hurt by the pandemic.
The Foundation4Love's "Local 10K" campaign has selected a dozen southern Maine businesses, purchasing $1,000 of product from each. The goods or food will be redistributed to cancer patients in the form of gift boxes.
"We see what's going on with the businesses hurting. We're a small business. We get it," Robert said. "Then we also have this community of cancer patients every day that are hurting. I see it every day as a nurse. So we asked, 'How can we support our community, like Foundation4Love does, and still give back to the cancer population?'
"That's when we put our heads together and said why don't we purchase $1,000 from each business we choose and from the goods we get we'll create love packages and designate patients who really need that and distribute those to our New England Cancer Specialist patients in our Scarborough and Kennebunk locations."
Victoria Foley, the director of marketing at New England Cancer Specialists, said such benevolence during and after cancer treatments "means so much and perhaps now even more than other time. Working with Sarah and Leah is deeply moving for these people and patients. It really is a boost that means a lot during a challenging time."
Donations are being accepted for the Local 10K through the end of the month at the nonprofit's website, foundation4love.org. The gift boxes will be distributed to approximately 100 NECS patients beginning in June. The original plan was to partner with 10 businesses, including the sisters' own SaltyGirl Beauty. Fund-raising has gone well enough that two additional businesses also have benefited.
"It definitely helps," said Danielle Graffius, one of the three co-owners of Rwanda Bean, which sold 125 pounds of coffee to Foundation4Love. "And for us, we feel deeply connected to New England Cancer Specialists and we've had family members who were treated there and I think Foundation4Love is such a great mission. We really enjoy working with Leah and Sarah in any way we can."
Also involved in the Love 10K program are Alisson's Restaurant in Kennebunkport, Sweetcream Dairy (Biddeford), Dizzy Birds Rotisserie (Biddeford), River's Edge Spa & Salon (Kennebunk), Rosemont Market and Bakery (Portland/Falmouth/Cape Elizabeth/Yarmouth), Blake Orchard (Portland), Taco Trio (South Portland), Gorgeous Gelato (Portland), Sea Love Candles (Kennebunk) and Pine Tree Seafood (Scarborough).
"It's a way to lighten the load, support small business and provide an act of kindness," Kelly said.
Kelly's own cancer experience informs much of both Foundation4Love's mission as well as the SaltyGirl brand. When the sisters decided to create their own beauty line, they were adamant they would create products free of all toxins, including sulfate, parabens and other common cosmetic preservatives. Parabens have been linked to breast cancer.
"We did it because we wanted to empower women, that's the number one reason," Kelly said. "When I lost my hair, my eyebrows, my eyelashes (from chemotherapy), as a woman going through cancer, having a baby, there are all sorts of milestones you can go through maybe not feeling your most beautiful. But you want to feel good to be able to go out and conquer the day. So that's what we wanted to give, with SaltyGirl Beauty. … A clean, healthy product."
Are there folks in your community going out of their way to help others during the virus outbreak? If so, please send details about their efforts to [email protected]
Maine Acts of Kindness: Read about charitable efforts during the pandemic
Lawsuits alleging poor medical care for veterans at Togus end in settlements
Cities and towns press for answers from governor's office on town meetings, elections
coronavirus, kennebunk maine, maine acts of kindness
The Sun Dozen
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Given months to live, Lewiston mom is 'not ready to leave'
Neighbors oppose potato chip maker moving into the former North Pownal General Store
Jay man injured in rollover on Route 133 in Jay
Judge orders Auburn girl held and evaluated in stabbing case
Police: Father claims daughter told by 'voices' to kill him

redpajama_set_name: RedPajamaCommonCrawl


Today, we're introducing Instagram Stories, a new feature that lets you share all the personal moments of your day, not just the ones you want to keep on your profile. As you share multiple photos and videos, they appear together in a slideshow format: your story. With Instagram Stories, you don't have to worry about overposting. Instead, you can share as much as you want to throughout the day — with as much creativity as you want. You can bring your business' story to life in new ways with text and drawing tools. The photos and videos will disappear after 24 hours and won't appear on your profile grid or in feed. People will see stories from accounts they follow in a bar at the top of their feed — from their best friends and their favorite business accounts. When there's something new to see, the account profile photo will have a colorful ring around it. To view your business' story, your followers tap on your profile photo. It's easy for them to view stories at their own pace: tap to go back and forward or swipe to jump to another account's story. If they want to comment on something they see, they can tap and send a private message to that account on Instagram Direct. Unlike regular posts, there are no likes or public comments. Your story follows the privacy settings of your account. If you set your account to private, your story is visible only to your followers. However, you can also easily hide your entire story from anyone you don't want to see it, even if they follow you. When watching your own story, swipe up to check out who's seen each photo and video. You can even choose to feature a particular part of your story by posting it on your profile. Instagram has always been a place for people and businesses to connect. And now you can do so in more ways—sharing highlights and everything in between, too. Instagram Stories will be rolling out globally over the next few weeks on iOS and Android. To learn more, check out help.instagram.com.
Snapchat – though once known as a mysterious app used by teens for nothing more than selfies and sexting – is an ingenious platform with a powerful storytelling feature that allows users to share snippets of their day in photo and video format, made all the more fun by its robust emoji, stickers, text and drawing tools, lenses and geo-filters. Each Snapchat story lasts 24 hours and is gone once that time has passed. A Snapchat story is not perfect, polished or even beautiful, but it's real.
It was all a bit too same-same for me.
1) The power of Snapchat is not its tech, but its storytelling format.
As a marketer and late-adopter of Snapchat for personal use, I rarely – if ever – use the platform's messaging functionality. This is partly because few of my close friends use the platform and because I was primarily intrigued by the ability to put compose a multimedia story on the fly. For all of us at Splash Effect, the ability to tell compelling and authentic stories about your brand is the true power of social, and Snapchat's story feature embodies that. Despite my initial qualms about Instagram's adoption of Snapchat's innovation in storytelling, I realized that it was just that: an innovation in storytelling. While Gutenberg invented the printing press, that did not mean that his was the only publishing house, right? And so should another platform have the ability to tell stories in this new, innovative way. The significant uptake of Instagram Stories shows that this storytelling format was of interest to many of Instagram's users and that what was holding them back from adopting Snapchat into their social media mix was the platform itself, not what the platform does.
2) Instagram Stories users are not Snapchat users.
What I didn't think of when I first encountered Instagram Stories was how brilliant of a business move this was for Instagram. We know that Instagram and Snapchat both attract younger users, but Instagram is a far more welcoming platform for those aged 35+ than Snapchat. To understand why refer back to the "selfies and sexting" that Snapchat was once known for. Many of Instagram's most popular accounts are run by mommy bloggers, food bloggers, artists, makers, restaurants, photographers and other brands whose demographic is far from that of Snapchat's. These Instagrammers – alongside what I would suspect is the majority of their audience – would not touch Snapchat with a barge pole. Even if these Instagrammers themselves might be interested in using the platform to engage with their audience, bringing their audience over to new platform that is likely unfamiliar to them would be challenging. Though building a Snapchat following from the ground up is not impossible when using the right tactics, it is not the right move for all brands. With Stories, Instagram has struck a golden market, giving Instagrammers the ability to share more of their lives and work with their followers without having to start from scratch.
An example of one of the feeds of the embroidery artists I follow. Beautiful, but not very personal.
As a Snapchat user slightly older than its core demographics, I am always looking for new accounts to follow. However, while I usually screenshot any Snapchat code that comes up in my feed, I find that they are few and far between and my Snapchat feed is a sad mix of brands I follow for research purposes, the handful of friends I have who also work in Digital Marketing, a few YouTubers whose YouTube videos I no longer follow, and DJ Khaled. This is disappointing to me as I would love to see Snapchat stories from a number of the accounts I enjoy following on Instagram, but they have yet to adopt and, frankly, I'm not sure they ever will. But, thanks to Instagram Stories the platform has now become more personal, satisfying that same storytelling itch that Snapchat successfully scratches. For example, I follow a number of embroidery artists on the Instagram as hand embroidery has become a new hobby of mine. These artists use Instagram as a way to promote their work, engage with the maker community and drive users to where they can purchase their work on Etsy or other ecommerce platforms. If you look at the feeds of these artists they are honestly quite impeccable. They are crisp and clean – the perfect platform for selling their work. Prior to Instagram Stories the closest you would get to learning about the artists themselves is if they post about their studio or their work environment, though still impeccably styled and framed. While some would call this fake, I call it good marketing. But while I appreciate their content for its beauty and finesse, I was intrigued to know more about them and, thanks to Instagram Stories, I now can. While of course these creators and their followers could move to Snapchat – as many have – that move is not realistic nor strategically smart for their brand as their followers tend to be other makers or users who have disposable income enough to purchase handmade art, aka not the under-24 crowd. Instagram, now complete with its Stories feature, makes for a perfect balance of the curated and the spontaneous, and I think – in time – it will be all the better for it.
If you're at all like me you spend a good amount of your spare time scrolling through Instagram's search feature. This is an excellent way to discover new creators, brands and content that you might like. I have found some of my favourite accounts (not belonging to my personal connections, of course) on Instagram. While Instagram Stories themselves are not discoverable, by discovering new accounts through the search feature you can also view stories by visiting their profile page. This discoverability, for me, is Snapchat's biggest downside. Part of why my Snapchat usage is far less than other social networks is that it is hard to find new and fun people and brands to follow when they are not in your personal contacts.
So, to make a long story short, while I was first opposed to Instagram's adoption of the storytelling device created by Snapchat, despite the obvious copy I am actually now quite excited for the doors this feature will open for Instagrammers looking to enhance their relationship with their community. Furthermore, it's a great alternative for brands who are interested in the storytelling benefits of Snapchat, but are concerned about reaching their target audience on the platform.
That is not to say that the benefits of Snapchat are lost to Instagram Stories. Snapchat still boasts incredible viewership rates with over 800 billion mobile videos viewed per day and is the most popular social network among teenagers and young adults aged 12-24. Ultimately, it's down to your audience to decide whether Snapchat or Instagram Stories is a better fit, but let's take a moment to appreciate the fact that we now have options. What a time to be alive!


Roxa Smith. Photo courtesy of the artist.
The Venezuelan-born, New York-based artist Roxa Smith depicts interior spaces as if they were portraits—teeming with personality and life. They're also carefully rendered formal investigations; skewed perspectives, flattened pectoral space, and the use of windows and mirrors make some of Smith's images teeter on the abstract. Here, the artist shares images of her studio and her process, and speaks with us about her ever-evolving painting and collage practice.
Roxa Smith's studio. Image courtesy of the artist.
What is it about interiors that interests you?
My love for interiors started when I moved to New York in 1991. I originally started as a landscape painter in California. When I moved to New York it was a very dark and gray city—very different than it is today. I had also seen the Matisse show at the National Gallery in Washington. Somehow that really inspired me. And the third thing that happened to me was that I visited my grandmother's old farm house in upstate New York; it had beautiful rooms that looked like museum rooms. I went up there to paint landscapes but it rained the entire time I was there. So those three things put together made me start painting interiors. I've gone through a lot of different scenes, I've used animals in interiors, I've done miniature interiors, I've explored other subject matter but somehow interiors always capture my imagination and my heart. It's led me to a lot of different approaches. I still have a love for landscape but it's interiors that are my anchor.
Roxa Smith's collages inside her studio. Image courtesy of the artist.
Do you typically paint rooms you know and inhabit; do you paint from life? Or are your images constructed from your imagination or from source material?
In the beginning I was working primarily from life, not taking photos. The domestic interiors are mostly places I've experienced first hand. As my process has evolved, I now do sketches and I also take photos. I use the photos and the drawings and I take from other places and other objects, and I put them into the interiors. So recently, the interiors don't necessarily end up being completely faithful reproductions of the spaces; in fact, a lot of them are sort of collages of places. They're based on a place but then they're transformed and translated. But there's a spirit that makes me want to work from a particular architectural framework and from there I will start shifting until I find that the space really sings for me.
From rough sketch to finished piece, a look at Roxa Smith's painting process.
You began with painting but more recently you've also been working in collage. The collages use patterns, and they seem flatter and less three-dimensional than your paintings, which are more straight-forward in their representation of space. Can you speak to these different approaches?
Both my paintings and my collages reconsider spatial values, but they're different processes. The collages are all either of rooms or based on chairs and patterns and shadows. I spend a lot of time choosing the patterned paper; that becomes my pallet. There are fewer elements to work from when I'm doing collage, so therefor they're more graphic in nature and they have different kinds of subtleties than the paintings do. With the paintings I can work on more detail and travel throughout the spaces. And some of the collages actually come from paintings I have made, they're just different interpretations—like a person who writes a novel versus a short story. To someone who's just looking at the work quickly, the collages look a bit more abstract, in a way, because the paintings have more rendering in them. The collages are newer for me; they're more like constructions. My most recent interiors have a lot of collaged elements, you just can't really tell. But in both cases—with the collages and with the paintings—I'm getting inspiration from the domestic interiors or spaces or objects that I come in contact with in my daily life.


In "installation notes" part it mentions that sequence diagrams work without Graphviz. Could anyone can explain how is possible to obtain output image or svg without Graphviz. What is the mechanizm for this ?
The standard Java 2D library has been use to generate image (http://en.wikipedia.org/wiki/Java_2D).
For SVG output, a custom class SvgGraphics has been written : it's not a very difficult job.
However, even for class diagram, GraphViz is not use to generate the image. GraphViz is only used to compute node position.
The work is done in net.sourceforge.plantuml.svek package.
Thanks for the quick reply =) Looking forward for documentations in future.


text:
James VanCallis found guilty on all counts in…
James VanCallis found guilty on all counts in murder of April Millsap
By Jameson Cook | jcook@medianewsgroup.com | The Voice
PUBLISHED: February 7, 2016 at 10:00 p.m. | UPDATED: June 17, 2021 at 2:52 a.m.
James VanCallis was convicted of first-degree murder Monday for the beating and asphyxiation death of April Millsap.
The jury deliberated about seven hours over two days before the jury foreman emphatically announced "guilty" on four counts, including both premeditated and felony murder.
The verdicts brought applause and cheers in the packed courtroom after the judge and jury exited, and smiles and hugs among April's mother, Jennifer, and her supporters and the prosecution team.
"Justice has been served," said Jessie Kanehl, spokeswoman for the Millsap family, shortly after the verdict.
"They are very relieved," said supporter Jean Persely of Millsap's family. "They were looking forward to putting an end to this chapter and glad they can move on through the grieving process."
County Prosecutor Eric Smith said he was pleased the jury foreman looked at VanCallis when he announced the verdicts.
"The foreman looked at VanCallis the entire time and told him, 'You're guilty of first-degree murder,'" he said. "I thought this is how VanCallis deserved to hear it.
"The whole incident was horrific. The jury told him in no uncertain terms that we in the community will not stand for this type of behavior."
He was not surprised with the verdict or that it took the jury about seven hours to reach the unanimous decision, considering the case required a more than two-week trial.
"I give the jury a whole lot of credit," he said. "There was a lot they had to see and sit through."
The courtroom was jammed with more than 100 spectators, the majority supporters of the Millsaps and prosecution.
"I think the whole county of Macomb was behind them," Kanehl said.
VanCallis was also convicted of kidnapping and attempted sexual penetration. He showed virtually no reaction to the verdicts.
His mother, Brenda, who sat in the courtroom with VanCallis' father, James, wept after hearing the verdicts.
Defense attorney Azhar Sheikh was disappointed but respected the jury's verdict. He said he was glad the jury took its time to mull the evidence.
VanCallis, 34, of St. Clair County, was convicted for killing Millsap, 14, on July 24, 2014, while she walked her dog, Penny, on the Macomb Orchard Trail in Armada, only about a mile from April's Armada home. She died from blunt force trauma to her head and asphyxiation due to a crushed air pipe.
The trial began Jan. 20 in front of Judge Mary Chrzanowski in Macomb County Circuit Court in Mount Clemens following a week of jury selection.The jury began deliberating Friday afternoon after listening to closing arguments from Assistant Macomb Prosecutor William Cataldo and Sheikh.
Cataldo said VanCallis attacked Millsap, who was walking her dog, Penny, with his motorcycle helmet on the path then dragged her off the path into a wooded area. He said he beat her further and intended to sexual assault her but was interrupted by passers-by.
He fled on his motorcycle, dumping Millsap's cell phone and backpack nearby.
The prosecution's case was backed by voluminous circumstantial evidence, including eyewitness testimony and VanCallis' odd behavior and comments to his girlfriend and brother after the incident.
A wound on Millsap's forehead matched a design on the helmet.
Sheikh asked the jury to acquit VanCallis because the prosecution presented no DNA or fingerprints to connect VanCallis to the crime or Millsap, and his statements to police were consistent. VanCallis admits he was on his motorcycle in the area but claims he drove from his home to Armada and Romeo before going to his brother's house southwest of Armada in Armada Township.
Millsap's murder rattled the community of Armada and beyond, and set off one of the most comprehensive police investigations in the history of Macomb County.
VanCallis is scheduled to be sentenced on March 30 at 8 a.m.
Jameson Cook | Multimedia Journalist


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Our roving INHORGENTA MUNICH TV team will be out and about for the whole event to capture topics, comments, and emotions sure to inspire you.
Watch videos on fascinating jewelry collections, inspiring design jewelry and interviews with exhibitors and VIP guests at the INHORGENTA MUNICH. Enjoy!
Klaus Dittrich, CEO and Chairman of Messe München, with the trade fair conclusion for INHORGENTA MUNICH 2019.
26-year-old watchmaker, Susanne Seufert, finds out about the latest watches trends and developments at INHORGENTA Munich 2019.
The INHORGENTA MUNICH 2019 Jewelry Show that showcase precious jewelry together with the latest designer fashion.
Jewelery designers show the noble and the modern designs at INHORGENTA MUNICH 2019.
Jewelery and watch lovers are increasingly demanding sustainably produced goods. A trend that also plays an important role at INHORGENTA MUNICH 2019. Our video shows the example of recently by the Responsible Jewelery Council (RJC) certified jewelry label Monomania and what this means for retailers.


text:
CREATE index idx_message_id ON message_retransmission (message_id);
CREATE index idx_implementation_build ON message_retransmission (implementation_build);


In lupus, something goes wrong with the immune system, which is the part of the body that fights off viruses, bacteria, and germs ("foreign invaders," like the flu).
Normally our immune systems produce antibodies that protect the body from these invaders. Antibodies are proteins in the blood that the body produces to fight off foreign agents. Antibodies do this by creating an immunity against unfamiliar microorganisms.
Autoimmune means your immune system cannot tell the difference between these foreign invaders and your body's healthy tissues and creates autoantibodies that attack and destroy healthy tissue ("auto" means "self").
These autoantibodies cause inflammation, pain, and damage in various parts of the body. Lupus is also a disease of flares (the symptoms worsen and you feel ill) and remissions (the symptoms improve and you feel better).


text:
De Meest Ridderlijke Orde van de Trouwe Krijger (Maleis: "Darjah Pahlawan Yang Amat Gagah Perkasa") is een van de ridderorden van het Sultanaat Kelantan. De in 1919 ingestelde orde heeft één enkele graad. De orde heeft een donkerrood lint.
De leden mogen de letters PYGP achter hun naam plaatsen.

Externe link

Afbeelding op

Krijger


The "Next" button doesn't have many friends in the e-learning community. The humble yet shiny arrow is associated with boring page turners.
Hell-bent on avoiding the "Next" button, many instructional designers will delinearise the content by creating a course homepage with a raft of topics represented by funky icons. The learner is free to explore and discover the knowledge contained therein at their convenience and – more importantly – at their discretion.
While I broadly agree with the constructivist sentiment of this approach, I can't help but think it's a band-aid for a much deeper issue.
In my previous post Informal first, I articulated a mindset that prioritises informal learning over formal training. I argued in favour of providing all the necessary learning resources to the target audience in an open, structured format. I had in mind an Informal Learning Environment which would host the bulk of the content and enable peer-to-peer knowledge sharing.
This is constructivist design. It facilitates pull learning at the convenience and discretion of the learner, and moreover it supports on-the-job learning just in time. Its primary focus is not on training, but on performance support.
Having said that, I am the first to agree that sometimes training is necessary. This is where an online course can step in.
By design, an online course is meant to transmit knowledge to the learner. By design, it's meant to be programmatic in nature. By design, it's meant to be ruthlessly efficient.
In other words, it's meant to be linear.
Don't get me wrong: I'm not suggesting that an online course should be stripped of all constructivist principle. On the contrary, I highly recommend that the learner be empowered to explore and discover the contents of the course as they wish, free of the yoke of forced navigation. However, it is important to note that such freedom is not mutually exclusive with linearity.
What I am suggesting is that the instructional designer who rails against the "Next" button is valiantly (but futilely?) trying to backfill a void in their organisation's learning architecture. Because open, searchable, browsable, accessible content does not exist, he or she feels compelled to create it. But the LMS is not the place for it!
Open, searchable, browsable, accessible content should be available to the learner all the time on an open, searchable, browsable, accessible platform.
In contrast, an online course should scaffold the learning experience to achieve a pre-defined objective. It should not be played with for hours on end, and it certainly should not be used for ongoing reference.
So whenever you are consumed by the burning desire to deride the "Next" button, ask yourself whether you are assigning guilt by association.
Perhaps the true guilt lay closer to home?
Does the learning department spend disproportionate effort on leadership development?
To me, it makes good business sense to facilitate the development of effective leaders in the organisation. Leadership is a driver of culture, which in turn is a driver of engagement, which in turn is a driver of performance.
While I support the philosophy of leadership development, however, I have doubts over some of the interventions that are deployed under that banner. The eye-watering costs and time associated with formal leadership training should be carefully evaluated in terms of ROI.
So I don't challenge whether substantial resources should be assigned to leadership development, but rather how they should be assigned. There is plenty of scope for informal learning solutions (for example) which are less time and money hungry – and arguably more effective!
Having said that, I think the effort assigned to developing leadership skills can be disproportionate in comparison to managerial skills. All too frequently, "leaders" are promoted due to their technical expertise, but they have never managed anyone in their life. Somehow we expect them to magically transform into Super Boss, but that's not going to happen. What these people need is Management 101 – a no-nonsense explanation of their new responsibilities and accountabilities, and the corresponding skillset to fulfil them.
Do you agree with me? Review the opinions of other practitioners – and voice your own – at the Learning Cafe blog.
That was the topic of last week's Learning Cafe in Sydney.
According to one school of thought, L&D belongs in HR because that's how you achieve scale. The fundamental learning and development needs in the organisation (eg leadership, culture and change) are enterprise-wide. So it makes sense to centralise their management.
According to another school of thought, however, the needs of the business are so diverse and unique that a central L&D team could never hope to keep abreast of them all – let alone address them effectively. So it makes sense to embed L&D professionals into the teams to manage the learning in its context.
Of course, both POVs are right. Whether L&D should be centralised in HR or distributed throughout the business is not a binary proposition. A true learning organisation needs both.
Having said that, how the organisation implements the two is important. There's no point having an ivory tower bestowing empty training interventions upon the masses; and conversely, there's no point having an army of hermits toiling away in isolation.
What's required is a partnership: L&D people across the organisation consulting and collaborating with each other – and with the business – to generate the right solutions for everyone.


We would like to present a value collection of berbers and a pin-dot carpet.
Each one is family friendly and stain proof. The samples are close in color but you need to see the sample in person for a closer look. All carpet is 12′ wide.
First we have Color PZL which is a zipperlock construction.
Next we have TP III which is stain proof but not a zipper-lock, pictured below. Price $1.28 sq ft.
Our third choice is very nice multi-colored low pile berber WB @$2.11 sq ft. This is a zipperlock carpet. Will not run.
Our last carpet is a pin-dot and it has a loop and cut pile. It is stain-proof and is the softest of the samples we have featured at this time.
NF is $1.81 sq ft.
10.00 sq yd. or 1.11 sq. ft.
I have heard many times….
I am looking for an area rug that picks up the flower in my favorite picture in the bedroom. It has a blue and green combination that is hard to find.
Well we have border and pattern collections, that you can select from. First pick the pattern you like and then we start filling in the colors. We do it online here at the store.
Here is an example, the colors in this border area rug, match the colors in these two prints.
Available in rectangles, squares, rounds and ovals. Even better, we can get custom sizes.
Come in and take a look at the sample color boards we have. We can create a rug that is perfect for your room.


text:
Aaron C Schroeder
FSoM
MAKING ROOM FOR CREATIVITY
Dawdling, in Schroeder's estimation, is the mother of invention. As one of Seattle's most prolific audio engineers, he's witnessed bands tackle recording like a job, blinkered by efficiency and aiming at results. Which makes sense in the pay-by-the-hour confines of a traditional recording studio. But Schroeder will tell you that brilliance doesn't come when called; it slips in through the side door when nobody's looking. In making music, wasting time is a kind of purposeful misdirection, and the more openness an artist has to mull and noodle and fuck around on their instrument without stress or expectation, the sooner they'll arrive at the perfect note.
Pierced Ears is a culmination of Schroeder's 10+ years working as a full-time engineer. Over the years Schroeder has quietly—or loudly, rather, but unheralded—worked with the cream of Seattle's rock 'n' roll crop: Wimps, Dude York, Rose Windows, Childbirth, Kinski, Posse, Zebra Hunt and 60 or so more artists. His role, as he understood it, was as a clear conduit for each band's energy.
- City Arts Magazine, March 2017
"I want to utilize the space to motivate artists to push themselves further. I want to tap into the feelings behind why the band wrote the song the way they did."
©2020 Pierced Ears Recording Co.


text:
Synaptura is a genus of soles. Most species are found in salt and brackish water in the Indo-Pacific and tropical East Atlantic, but S. salinarum is restricted to fresh water in Australia. The largest species in the genus reaches a length of .

Paul Chabanaud retained the genus named Synaptura for this group and he designated Pleuronectes commersonniias its type species. This designation is incorrect according to the International Code of Zoological Nomenclature and Synaptura as designated by Theodore Edward Cantor is a synonym of Brachirus. Due to this some workers have assigned the species previously assigned to Synaptura, as raised by Chabanaud to Dagetichthys, a previously monotypic genus which contained just Dagetichthys lakdoensis. This more broadly defined Dagetichthys for a monophyletic clade. Buglossidium luteum seems to be the most closely related taxon to Dagetichthys.

Species
There are currently seven recognized species in this genus:
 Synaptura albomaculata Kaup, 1858 (Kaup's sole)
 Synaptura cadenati Chabanaud, 1948 (Guinean sole)
 Synaptura commersonnii (Lacépède, 1802) (Commerson's sole)
 Synaptura lusitanica de Brito Capello, 1868
 Synaptura lusitanica lusitanica de Brito Capello, 1868 (Portuguese sole)
 Synaptura lusitanica nigromaculata Pellegrin, 1905
 Synaptura marginata Boulenger, 1900 (White-margined sole)
 Synaptura megalepidoura (Fowler, 1934)
 Synaptura salinarum (J. D. Ogilby, 1910) (Saltpan sole)

References

Soleidae
Ray-finned fish genera
Taxa named by Theodore Edward Cantor


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August 23, 2009 by Paradox in "Brooklyn", "Bushwick", "overwhelmed", "panic"
I'm getting itchy feet again. I've been here over four years now and I still love it. I don't really want to move anywhere else... But I really want to settle down and feel like my life is stable. The idea that once filled me with utter panic is now what I want most of all. Actually the opposite fills makes my heart jittery with fear right now. What if it never happens? What if I am alone for the rest of my life?
Bushwick is tiring me. Last night my street became a full-blown party area around 3am. Cars stopping in the middle of the street blasting the crappiest dance music I have ever heard, people yelling at each other, skateboarders riding up and down the street, non-stop... The BP gas station was robbed at gunpoint again last week and I can never walk to subway station without hearing some kind of lewd remark. BLAH. I love Brooklyn but all this is tiring me. I want a house in the country. Do I?
Overwhelmed by everything at the moment.


Images are printed on a cotton/poly blend artist canvas. The pigment based, archival inks have a life expectancy of 99 years. The matte coating is made for application on canvas and provides additional protection against harmful UV rays. These images are made to last a lifetime!
What is a museum wrap? Quite simply, the canvas image is wrapped around a custom made, 1 1/2 inch deep wooden frame. Your whole image remains on the front, the edges are finished with our trademarked border process. Lightweight and complete with hanging hardware, your print is ready to display in your home or office; no other framing is necessary!
A - 13" x 10"
B - 14" x 9"
C - 12" x 12"
A - 18" x 15"
B - 20" x 14 "
C - 16" x 16"
A - 26" x 21"
B - 28" x 19"
C - 24" x 24"
A - 37" x 31"
B - 41" x 28"
C - 36" x 36"
Custom Sizes: pricing available on request.
When we receive your photograph or digital image, our experts will determine whether the best option is A, B or C in the size you have selected. Please let us know in advance if one of the above options (A, B or C) will NOT fit your space requirements.
*Standard prices include the first 15 minutes of pre-press work (ie- scanning, minor touch ups, cropping, red eye removal, image sharpening).
Call for quotes on major retouching, restoration, custom sizes and collages. Prices are based on $20 per 15 minutes or an hourly rate of $60 per hour. Contact us and we can provide an estimate for the cost of enhancements for your particular image.
If you have any questions about what enhancements and/or corrections might be appropriate, please call and ask us. We are here to make sure you get the best image possible!


Keith Lane Parris, 39, of Maysville, died Tuesday, July 8, 2008, at his residence.
Born in Clayton County, he was the son of Marie Ledford Parris of Maysville and the late William S. Parris. Mr. Parris was preceded in death by a sister, Cheryl Ann Butler.
Survivors in addition to his mother, include a brother, Allen Eugene Parris, Maysville; sisters, Cynthia Nancy Parris, Gainesville, and Tina Louise Boswell, Maysville.
Funeral services will be held Friday, July 11, at 4 p.m., from the Cave Springs Baptist Church with the Rev. Chad Rising officiating. Burial will be in the church cemetery. The family will receive friends at the church on Thursday, July 10, from 7 to 9 p.m., and other times at the residence, 823 Hale Rd., Maysville.
Ivie Funeral Home, Commerce, is in charge of arrangements.


text:
'use strict';

/* CartoDB Directive */

angular.module('cartodbExampleApp.directives', []).
directive('mapWrapper',['mapId', 'layerUrlId', function(mapId, layerUrlId) {
    return {
      restrict: "A",
      templateUrl: '../app/views/map.html',
      /* Link function loads in the cartodb vis */
      link: function(scope, elm, attrs) {

        // use default options if nothing is specified in the attributes
        // $eval is needed to evaluate the observed attribute expression
        var mapOptions = {
          shareable: (attrs.shareable) ? scope.$eval(attrs.shareable) : true, //shareable
          title: (attrs.title) ? scope.$eval(attrs.title) : true, //title
          description: (attrs.description) ? scope.$eval(attrs.description) : true, //description
          searchControl: (attrs.searchControl) ? scope.$eval(attrs.searchControl) : false, //search-control
          zoomControl: (attrs.zoomControl) ? scope.$eval(attrs.zoomControl) : true, //zoom-control
          loaderControl: (attrs.loaderControl) ? scope.$eval(attrs.loaderControl) : true, //loader-control
          center_lat: (attrs.centerLat) ? scope.$eval(attrs.centerLat) : 0, //center-lat
          center_lon: (attrs.centerLon) ? scope.$eval(attrs.centerLon) : 0, //center-lon
          zoom: (attrs.zoom) ? scope.$eval(attrs.zoom) : 3, //zoom
          cartodb_logo: (attrs.cartodbLogo) ? scope.$eval(attrs.cartodbLogo) : true, //cartodb-logo
          infowindow: (attrs.infowindow) ? scope.$eval(attrs.infowindow) : true, //attrs.infowindow
          layer_selector: (attrs.layerSelector) ? scope.$eval(attrs.layerSelector) : true, //layer-selector
          legends: (attrs.legends) ? scope.$eval(attrs.legends) : true, //legends
          https: (attrs.https) ? scope.$eval(attrs.https):  false, //https
          scrollWheel: (attrs.scrollWheel) ? scope.$eval(attrs.scrollWheel): true, //scroll-wheel
          fullscreen: (attrs.fullscreen) ? scope.$eval(attrs.fullscreen) : true //fullscreen
        };

        cartodb.createVis(mapId, layerUrlId, mapOptions)
        .done(function(vis, layers) {
          // Assign map variables to the $scope so we can stuff with them.
          // We must use $apply because the done() callback does not trigger a $digest cycle.
          scope.$apply(function() {
            scope.vis = vis;
            scope.basemap = layers[0];
            scope.mapLayers = layers[1];
          });
        })
        .error(function(err) {
          console.log(err);
        });
      }
  };
}]);


text:
La Société nationale de musique (SNM) fut fondée le  par Romain Bussine et Camille Saint-Saëns, qui en partageaient la présidence. Son but était de promouvoir la musique française et de permettre à de jeunes compositeurs de faire jouer leurs œuvres en public. Sa devise était « Ars gallica ».

Membres fondateurs
Parmi ses membres initiaux figuraient, outre Saint-Saëns et Bussine : César Franck, Ernest Guiraud, Jules Massenet, Jules Garcin, Gabriel Fauré, Alexis de Castillon, Henri Duparc, Paul Lacombe, Théodore Dubois, Théodore Gouvy,  Paul Taffanel et Clémence de Grandval. Elle fut créée en réaction à la tendance française de favoriser la musique vocale et l'opéra au détriment de la musique d'orchestre et instrumentale, et pour réaffirmer la grandeur de la musique française face à la tradition germanique.

Lancement

Le concert inaugural fut donné le , avec au programme le Trio en si bémol majeur de Franck, deux mélodies de Dubois, Cinq pièces dans le style ancien de Castillon, une réduction du Concerto pour violon de Garcin, une Improvisation pour ténor de Massenet et la Marche héroïque op. 34 pour deux pianos de Saint-Saëns. Le concert eut lieu dans les salons Pleyel. La salle Érard accueillit les concerts orchestraux, et l'Église Saint-Gervais les œuvres avec orgue. Bien que la Société disposât de peu de moyens, elle fut à même d'engager des interprètes de premier ordre tels Pablo de Sarasate, Eugène Ysaÿe ou Wanda Landowska.

Ouverture

En 1876, la société accepte la première femme compositrice, Marie Renaud-Maury. Dans les années 1880, la société commença à accepter les partitions de compositeurs non français. Ernest Chausson en fut le secrétaire de 1883 à sa mort. Vers la fin de cette décennie, la société accepta de nombreux compositeurs de la génération montante, tels Debussy et Ravel.

Crise et renouveau

En 1886, la Société eut une division frontale à propos du problème de la promotion de la musique étrangère, à l'initiative de Vincent d'Indy et d'autres. Lorsque le principe de l'ouverture des programmes de la SNM aux compositeurs étrangers fut voté par les sociétaires, Saint-Saëns et Bussine démissionnèrent, et César Franck fut alors nommé président. Avec la mort de César Franck en 1890, la présidence incomba à d'Indy. Après quelques incidents, Maurice Ravel quitta la Société pour en fonder une nouvelle, appelée Société musicale indépendante, active à compter de 1910. La compétition entre les deux sociétés et le manque de nouveaux manuscrits entraîna une réduction de l'activité de la Société nationale de musique jusqu'aux années 1930, où l'apport de nouveaux membres tel Olivier Messiaen lui apporta un nouveau souffle.

Bibliographie
 .
 .

Notes et références

Notes

Références

Voir aussi

Articles connexes
 Musique française

Liens externes

Société de concerts


text:
Q: Difference between Bucket level lock and segment level lock in ConcurrentHashMap? I gone through below link and some online video tutorials but am unable to find exact differnece between Bucket level lock and segment level lock in ConcurrentHashMap.
ConcurrentHashMap

A: In Java 8 ConcurrentHashMap changed its logic to use bucket level locks instead of segment level locks.
What is the difference?
In Java 7 the map was subdivided among Segments, each of which itself is a concurrently readable hash table. Each segment contains some number of buckets inside.
The bucket itself is a list/array of key-value pairs.
The number of threads working with map in parallel was limited to the number of segments.
In Java 8 lock level was moved to a bucket level, while segments were removed (it is still in the code, but without use).
So, basically, in Java 7 inserting was locking a few buckets, in Java 8 - only one.
Another reason why it was done is that the number of threads, which are working in parallel with the map, can increase during map size increasing (more buckets - more threads). In Java 7 segments size was fixed, and it couldn't be changed without recreating a map.

redpajama_set_name: RedPajamaStackExchange


Figure 1. Left, Sea ice coverage and locations of female polar bears with tracking collars for 30 June 2014 (black, Western Hudson Bay bears; blue, Southern Hudson Bay bears), courtesy Alysa McCall, Polar Bears International; Right, sea ice coverage for 30 June 2015, cropped from the CIS daily map. Click to enlarge.
I didn't talk much about Hudson Bay breakup last year because I was traveling overseas. However, official breakup occurred around 1 July (using the new, 30% method), with most bears onshore about 2-3 weeks after (Cherry et al. 2013).
Note that two bears on the 30 June 2014 map (Fig. 1) were out in the middle of the bay – some bears actually move around quite a bit, although others are more restrained in their movements (Parks et al. 2006; see also previous post).
At least three of McCall's subjects last year appeared to be in open water – an example of the famous "20% of collared bears on ice that doesn't exist" phenomenon (see previous post here).
"The map below from scientist Alysa McCall at the University of Alberta shows that one polar bear from each population is now on land (Bear I for the Western Hudson Bay population, Bear F for Southern Hudson Bay). Bear I is on the coast just north of Churchill.
McCall says that the ice is breaking up rapidly now, so by next week more polar bears will probably be onshore.
This year it's a whole new ball game.
Compare ice coverage this year and last (in Fig. 1), to 30 June 2013 (Fig. 2, below). There was much more open water in the east in 2013 but less in the west. Breakup in 2013 was later than average.
Figure 2. Sea ice extent in Canada, June 30, 2013. From the Canadian Ice Service.
Sea ice coverage on Hudson Bay, according to NSIDC (Fig. 3), is the highest it's been at this date for the last 5 years at least (they only show five years).
Figure. 3 Sea ice extent for Hudson Bay for 2011-2015 at June 29. NSIDC. Click to enlarge.
Melt proceeded rapidly after 30 June last year (Fig. 4) – but notice how many bears appear to be on the remnant ice at 8 July, even though it doesn't look like there's much present.
Figure 4. Sea ice coverage and locations of female polar bears with tracking collars for 30 June 2014 and 8 July 2014 (black, Western Hudson Bay bears; blue, Southern Hudson Bay bears), courtesy Alysa McCall, Polar Bears International. Click to enlarge.
And as is usual for this date – the official last day of Arctic spring – there is still sea ice present in every one of the 19 subpopulation regions (Fig. 7), with at least 30-40% concentration – even on Hudson Bay (Fig. 5).
Figure 5. Sea ice concentration estimates at 30 June 2015. Courtesy NRL. Click to enlarge.
Virtually all of this ice is estimated to be greater than 30 cm thick (Fig. 6), which is plenty thick enough to support a full grown male polar bear. Work on polar bears in the Canadian Arctic around Baffin Bay (Ferugson et al. 2000) has shown that the bears routinely hunt on 'young ice' (0.1-0.3m), and there's no reason to assume they would not use melting ice of similar thickness as well.
Figure 6. Sea ice thickness estimates at 30 June 2015. Courtesy NRL. Click to enlarge.
Figure 7. Sea ice extent at 29 June 2015. Courtesy NSIDC and WUWT Sea Ice Page. Click to enlarge.
Figure 8. Hudson Bay sea ice coverage, 1971-2015 for the week 2 July. CIS. Click to enlarge.
Figure 9. Foxe Basin sea ice coverage 1968-2015 at 2 July. CIS. Click to enlarge.
And finally, ice in the northern half of Davis Strait (Fig. 10) is well above average this week and the highest it's been since 1994 (and higher than 1971)!
Figure 10. Davis Strait sea ice coverage 1971-2015 at 2 July. CIS. Click to enlarge.
Parks, E.K., Derocher, A.E., Lunn, N.J. 2006. Seasonal and annual movement patterns of polar bears on the sea ice of Hudson Bay. Canadian Journal of Zoology 84:1281–1294.
This entry was posted in Uncategorized and tagged Arctic, breakup, Cherry, CIS, Derocher, habitat, Hudson Bay, ice melt, McCall, NSIDC, polar bear, Polar Bears International, satellite collars, science, sea ice, sea ice concentration, Southern Hudson Bay, western hudson bay. Bookmark the permalink.