Belper is a key community within the Derwent Valley Mills World Heritage Site. It was here that Jedediah Strutt and his sons began their cotton mill business in 1776, and by building and buying homes and facilities for their workers created one of the world's first industrial communities.
To encourage families to move into Belper and work in their mills, the Strutts built housing for their workers, close to the mills. Nearly all these houses have survived and are still much sought after today. Close by is the mile-long stone-lined railway cutting which has cut through the town since 1838.
The Strutt family were benefactors to Belper and Milford for two centuries, providing for the workers' needs and there are still many buildings to be seen in the town which were built for the people by the Strutts.
Another great gift to the town was the River Gardens, created and given by George Herbert Strutt in 1906. This water garden by the Derwent still hosts band concerts on alternate Sunday afternoons in the summer.
The importance of the Belper mills and their historic industrial neighbours at Cromford, Darley Abbey and Derby was reflected by the World Heritage Site status given to the Derwent Valley Mills in December 2001. Belper is also within the National Heritage CorridorTM.
This short walk looks at some of the most significant buildings near to the Strutt mills. The starting point is the Derwent Valley Visitor Centre reception, inside Strutt's North Mill. During your walk you will see the interpretation board on the railway bridge in Long Row, which will tell you more about this industrial community, and show you how it has changed in the past two centuries.
Jedediah Strutt built water-powered cotton spinning mills in Belper from 1776. The North Mill of 1781 was re-built in 1804 after fire destroyed the original mill. William Strutt designed this, using innovatory construction methods, as a fireproof building; it was an important development in the building of multi-storey structures. This mill is one of the most significant elements of the Derwent Valley Mills World Heritage Site.
The Horseshoe Weir and sluice gates were built in 1797 to replace an earlier weir and gain better control of the River Derwent to power the mills. It is one of the finest in the UK. Take the path by the weir, which runs alongside the river to The River Gardens. This is where willow was grown to make baskets for transportation of goods at the mills. George Herbert Strutt agreed to a landing stage being built here. This idea developed into the River Gardens. Band concerts are held here and boats may be taken out on the river.
Across from the Matlock Road entrance to the River Gardens is "The Old Nick", Belper's former police station, built in 1847. For two years it served as the headquarters of the Derbyshire Constabulary when it was first formed in 1857. Three police houses were built alongside in 1877. Cross at the lights towards these houses and turn right.
On the right, across the road from Long Row is Christ Church and vicarage, built in 1850. Turn left up Long Row. The first Long Row schoolroom was built about 1818; it was later rebuilt and enlarged. Some houses were demolished to accommodate the larger school building.
Long Row is a second phase of millworkers' housing built about 1790 by the Strutt family. The rows of houses on the left and at the bottom right have a continuous roofline with an extra storey; built of gritstone and interlock around the staircase. The brick houses on the right ascend in steep pairs. All these houses have ample gardens.
On the right by the railway bridge is a walled area, known as the dirt hole. Here people emptied their ashes to be collected by the ash cart. The North Midland Railway came through Belper between 1838 and 1840 as part of the Derby to Leeds line. There are 11 bridges in the one-mile that it runs through Belper. Four or five houses in each row had to be demolished for the cutting to go through.
Turn right into Green Lane. On your left there are four short rows of cottages, these were the first phase of Strutt housing, about 1780. Mill Street has since been extended and the houses on the right lost their gardens.
You are now entering The Clusters. Cluster buildings are blocks of four houses, semi-detached and back-to-back, each with a pigsty. The cluster rows were the third phase of workers' housing, built about 1818-1820 and named in 1896 after Jedediah's three sons. Turn right into William Street, then at the first lamp post on the left, turn left and pass through the channel (or alley) into George Street. The more modern George Street houses were built from 1840 onwards and there has been some infilling since then. Cross the road and go through another channel into Joseph Street. The house on the right is a fine example of a cluster house.
Turn up Joseph Street and on the left is a Nail Shop built in the early 19th century. Most of the millworkers were women and children. Various workshops were built within the housing complex to provide employment for men.
At the top of Joseph Street, cross the road into Field Row. On the left is the Unitarian Chapel, built in 1788 and extended on both sides early in the 19th century. The chapel is three times its original size. It is a good example of nonconformist architecture. There is a fine external, cantilevered staircase, which gives the only access to the upper gallery. Several members of the Strutt family remains are contained in a catacomb below the Chapel.
Back to Green Lane, walk back down Joseph Street. At the bottom, walk through the small entry in front of you, and continue down Crown Terrace until you are on Bridge Street. Turn right, towards the mills. The George and Dragon on the opposite side of the road was a coaching inn and served as an early post office. The old Savings Bank is opposite the George and Dragon. William Strutt was a founder of the Savings Bank, in 1818. It moved to these premises in 1851, later becoming a branch of the TSB. The ornate stonework front was added in 1910.
Cross at the lights and follow the signs for the Derwent Valley Visitor Centre. Strutt mills became part of the English Sewing Cotton Co. in 1897. The big East Mill was built in 1912. In the mill yard the engine house and the remaining stump of the mill chimney can be seen, built in 1854 when the mills began using steam power. The stone arch over the road is the Gangway, built in 1795 to connect the now-demolished West Mill to the North Mill. In 1810 holes were made where muskets could be fired at any troublemakers. Return to the Derwent Valley visitor Centre in Strutts' North Mill.
Belper was not just known for cotton spinning – its industrial heritage dates back centuries, and was highly diverse. Two of Britain's largest hosiery producers were based in the town throughout the 19th century, whilst nail-making in the town dates back to the Norman Conquest. From travelling caravans to cotton vests, from rope and railway cuttings to toffee and quality furniture – they were all produced in Belper, and kept thousands of people in work.
One of the best-known hosiers of the 19th and 20th centuries was George Brettle and Co. Their Chapel Street premises are now the home of De Bradelei Mill, and it is from there that this short walk through the town begins. This description will help you find some of the most significant buildings in the town, and show you a little of Belper's industrial past, and its wider setting. The end point is the Derwent Valley Visitor Centre, inside Strutt's North Mill, where you'll find more information about the town. It is then just a short walk back to the De Bradelei Mill complex.
At De Bradelei Mill you will find an interpretation board which will tell you more about this industrial community, and its links to the hosiery industry.
Belper has a strong industrial past, with cotton spinning, hosiery production, nail-making and the iron foundries providing thousands of jobs for many, many years. This walk begins at De Bradelei Mill, the one time HQ of George Brettle and Co. once one of the most renowned manufacturers of hosiery and other cotton goods. On this site, stockings were once produced for George III and his grand-daughter Queen Victoria, and it is said the cotton vest worn by Admiral Horatio Nelson at the Battle of Trafalgar in 1805 was a Brettle vest. The interpretation board under the arches leading to the car park will tell you more about the company.
Walk through the large arch on to the main road – this is the A6, which follows the line of the turnpike road provided between Derby and Manchester in 1816-18. From the archway, look right and you will see the large gritstone warehouse of 1850 on the far side of the roundabout. This belonged to Wards, another major hosiery company.
Turn left, walking along the A6 towards the town centre. Next to De Bradelei Mill is the Central Methodist Chapel of 1807.
Continue along the road, past King Street. Turn left onto Derwent Street and walk down until you reach the former Thornton's factory on the left. The toffee manufacturer came to Belper in 1947. Before then it was a blouse factory but it began life as a theatre, where Gracie Fields once performed. Opposite the factory is the entrance to Unity Mill.
Walk through to see the corn mill built in 1839 by James Webster and greatly enlarged by John Strutt from 1853. It was later converted to cotton spinning, then became a furniture manufacturers but is now an antique centre.
Return to Bridge Street (the A6), cross the road and walk under the arch by the Frearson's shop into Wellington Court. On the left is Wellington House where Will Hay, star of Ealing film comedies, stayed as he began his career in Belper. At the end of the stone terrace follow the road ahead past the pound shop to the railway station of 1878. On the platforms you can see the recesses which once held the station buildings, and beyond these, looking north, the five road bridges, which cross the stone-lined cutting designed by George Stephenson.
Walk up the steps from the platform and follow the footpath which runs parallel to the platform, until you come out on Field Lane. Cross the road onto another path running parallel to the railway cutting. This is The Ropewalk, so called because it runs at right-angles to a former ropewalk used for rope-plaiting, which ran along the back of the houses.
At the end of ropewalk you are in Joseph Street – part of the industrial housing built by the Strutts. Note the Telford/Macadam type road surfacing to the right of you – a rare survival.
Turn left and walk down the road until you reach No 3 Clusters Court – opposite is a channel to George Street. Walk along it. As you pass through the channel note the old workshop on your left, now converted into a house. Although the Strutts primarily only wanted women and children in the mills, they provided workplaces like these for men so that whole families would want to settle in the town.
At the end of the channel turn left, past more cluster houses, then at the bottom of the road turn right. You are now in Clusters Road.
Past the Drill Hall of 1902 on the left is Piggy Hill, the channel running down to the main road, so-called as from 1896 it was used by butcher Edward Ryde to herd in his fresh stocks of pigs.
Carry on to the end of Clusters Road and turn left onto Long Row. On the right as you walk down to the A6 is Long Row School, provided by the Strutts for the community in 1818. In front of you, across the road, is Christ Church of 1850, another Strutt provision for the town. Bear right and cross the road at the crossing.
You are now in The Triangle, where there is an interpretation panel on the mills and surrounding area. On the left is Pyms, a solicitor's office which was once the mill armoury. Cross the road again, this time towards the big red mill, the East Mill of 1912. Turn left and under the bridge linking the buildings on opposite sides of the road. This is the Gangway of 1795. Carry on along the road, turning right at the sign for the Derwent Valley Visitor Centre. You will find more information on Belper's industrial past at the centre in Strutt's North Mill, where tours of the mill are also available.
To return to De Bradelei Mill simply return to The Triangle turn right and follow the A6 road.


text:
Three Shortlisted for Public TV Top Job
Civil Georgia, Tbilisi / 6 Aug.'09 / 13:34
Public broadcaster's board of trustees selected on August 6 three contenders out of fifteen, who progressed in the second round of contest for the broadcaster's vacant seat of general director.
Gia Chanturia, an acting general director, who was Levan Kubaneishvili's deputy before the latter quit the post of general director late last month; as well as a long-time journalist Zviad Koridze and a film director Giorgi Kacharava were selected by eight members of the board through a secret ballot.
Koridze and Kacharava received seven votes each and Chanturia – six. Each member of the board could vote for as many contenders as they wished and those candidates who received more than five votes progressed into the second round.
Erosi Kitsmarishvili, a founder and former co-owner of Rustavi 2 TV, received only one vote.
Kacharava, who is little known for the public and who received seven votes, writes in an outline of his priorities for the public broadcaster, submitted to the board, that production of TV series and entertainment shows would be among his priorities.
Total of sixteen people applied for the vacant post, but one contender – Giorgi Tsikhiseli, chief of newsroom at a Russian-language RTVi television network, was dismissed by the board from competition citing improperly filed papers for registration.
Public TV will host live debates between the three candidates on August 7, moderated by Davit Paichadze, a journalist and assistant professor at the Ilia Chavchavadze University.
No audience is expected to be present at the debates in studio, as it was demanded by a group of activists, which has launched a campaign for a transparent election of the public broadcaster's new head. The group is also calling for a live broadcast of interviewing of three contenders by the board members – the demand, which is also rejected by the board.
Board Called for Transparency in Electing Public TV Head
Head of Public Broadcaster Resigns
Three New Members of Public TV Board Elected

redpajama_set_name: RedPajamaCommonCrawl


It's fine and nice and enjoyable but I really don't get all the hype. I wouldn't call it the best Sidney Lumet movie. I wouldn't even call it the best Ed Begley Sr. movie.
Underneath the quirkiness and humour and beautiful scenery, there's a heart-breaking story about parenthood, responsibility, and substance abuse. I love it and I wish I'd never seen it. Taika Waititi is the greatest filmmaker of the decade.


December 8, 2014 (F. William Engdahl - NEO) - South Stream, the $45 billion project to deliver Russian natural gas via underwater pipeline through the Black Sea to Bulgaria and on to other Balkan and southern European markets, is dead. Russian President Vladimir Putin made the death pronouncement on December 1, during a trip to Turkey to meet Turkish President, Recep Tayyip Erdogan. It has major geopolitical and economic consequences for the EU.
The Russian President didn't waste a minute to show how he plans that redirection. The real loser is not Russia, but the EU who managed yet again to shoot themselves in the foot by their buckling under to Washington pressure from Victoria Nuland's State Department and the Obama Administration hawks. The South Stream would have provided secure delivery to southern EU countries including Bulgaria, Hungary, Austria, Italy, Croatia and also Serbia. It would avoid the current transit pipelines running through Ukraine. Similarly, to avoid a repeat of the US-induced Ukrainian disruptions of Russian gas to the EU in 2009, Russia and Germany agreed the construction of Nord Stream, also avoiding Ukraine.
Now, by forcing Bulgaria, an EU member, to halt South Stream, using blackmail of a Bulgarian bank bailout last June, the EU has made itself dependent on gas security via Ukraine, a country the EU's own political spinelessness has helped turn into a failed state ruled by a cabal of Brussels-and-Washington backed gangsters and oligarchs. We might use the term "stupid" to describe EU policy on South Stream, were it not for the fact at the end of the day Washington blackmail on the EU caused the South Stream blockage policy to be implemented, just as the economically devastating EU Russia sanctions were imposed only after extreme pressure on Berlin and Paris by Washington.
Russia and Turkey have just signed an agreement to expand the existing Russian Blue Stream gas pipeline to Turkey by an immediate 3 billion cubic meters to the current 13.7 bcm of gas pumped to Turkey via Blue Stream, for a total near 17 bcm.
Gazprom CEO Alexei Miller revealed that he has signed a memorandum of understanding on building a new Turkey-bound pipeline under the Black Sea, with capacity to pump 63 billion cubic meters to Turkey, about equal to the now-defunct SouthStream.
If we follow the motion of his feet and not so much his mouth, Erdogan is above all a pragmatic political survivor. Internal conflict, above all with the CIA-linked Fetullah Gülen movement as I detail in Amerikas Heiliger Krieg, has increased distance between Erdogan and Washington despite Turkey's NATO membership. Until now, Washington's neo-conservatives Richard L. Morningstar, now Ambassador to Azerbijan, had relied on an obedient Turkey as an alternative to carry gas or oil from Azerbaijan independent of Russia.
If Erdoğan accepts the Russian offer of forming an energy alliance, it would mark a sharp policy change for Turkey, a geopolitical shift of immense importance and Erdogan knows as much, even if he seems to have a confused idea of a clear strategy for Turkey. A Russian-Turkey energy hub on the Greek border would signal a decisive change of strategy by Erdogan. A significant hint of that was contained in the statement that the new gas supplies to Turkey from Russia will be paid in local currencies, not in the US dollar. Turkey already is Russia's largest foreign gas customer after Germany. Erdogan has also asked to be accepted in the Shanghai Cooperation Organization led by Russia and China.


text:
Kościół Matki Bożej Królowej Świata – rzymskokatolicki kościół parafialny należący do dekanatu Jasło Zachód diecezji rzeszowskiej.

Świątynia w Niegłowicach została zbudowana w 1924 roku jako Dom Ludowy. W 1944 roku ówczesny wikariusz jasielski ksiądz dr Stanisław Mierzwa, utworzył w nim placówkę religijną, za zgodą ówczesnych władz gromadzkich. Sala teatralna została przystosowana do potrzeb kultu religijnego i została poświęcona przez księdza doktora Stanisława Mierzwę w dniu 15 listopada 1944 roku. Od 1949 roku do października 1956 roku trwał spór o kaplicę między Powiatowym Referentem Wyznań w Jaśle a mieszkańcami Niegłowic. Władze powiatowe chciały zlikwidować kaplicę, natomiast ludzie będąc przekonani, że Dom Ludowy jest ich własnością czyli gromady, starali się ją zachować. Ostatecznie po październiku 1956 roku władze zrezygnowały ze swoich zamiarów, a katolicy z Niegłowic i Brzyścia dzięki modlitwom, wytrwałości i nieugiętości zatrzymali kaplicę. Biskup Franciszek Barda dekretem z dnia 4 maja 1957 roku. ustanowił w Niegłowicach wikariat podporządkowany parafii farnej w Jaśle, z prawem spełniania wszystkich funkcji duszpasterskich i wydawania metryk. W dniu 1 kwietnia 1991 roku Urząd Wojewódzki w Krośnie wydał decyzję o prawie własności całej nieruchomości, czyli kościoła i sąsiednich parceli na rzecz parafii w Niegłowicach. W 1994 roku zostało wyremontowane wnętrze świątyni. W 1999 roku została rozpoczęta generalna przebudowa i remont świątyni jako wotum Roku Jubileuszowego. Budowla została konsekrowana przez biskupa Edwarda Białogłowskiego, biskupa pomocniczego diecezji rzeszowskiej w dniu 22 sierpnia 2007 roku.

Przypisy

Matki Bożej Królowej Świata
Świątynie pod wezwaniem Matki Bożej Królowej Świata
Świątynie przekształcone z obiektów świeckich
Budynki w Polsce oddane do użytku w 1924

redpajama_set_name: RedPajamaWikipedia


text:
define([
    'modules/room/module'
], function (module) {
    'use strict';

    module.controller('modules.room.controllers.users', [
        '$scope',
        '$modal',
        'NgTableParams',
        'app.services.popupService',
        'app.services.httpService',
        'app.services.ajaxService',
        function ($scope, $modal, tableParameter, popupService, httpService, ajaxService) {
            var me = this;

            this.list = [];

            this.add = function () {
                $modal
                    .open({
                        templateUrl: 'views/room/personal/UserForm.html'
                    }).result
                    .then(function (data) {
                        data.personRoleRelationAuthoritys = [{
                            roleCode: data.roleId
                        }];
                        ajaxService
                            .json('/personauth/addRoleAuthority', JSON.stringify(data))
                            .then(function () {
                                popupService.information('添加成功');
                                me.load();
                            });
                    });
            };

            this.edit = function (user) {
                if (user.personRoleRelationAuthoritys && user.personRoleRelationAuthoritys.length > 0)
                    user.roleId = user.personRoleRelationAuthoritys[0].roleCode;
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                        data: user
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                    .then(function (data) {
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                            .json('/personauth/modifyPersonAuthority', JSON.stringify(data))
                            .then(function () {
                                popupService.information('添加成功');
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            this.changePassword = function (id) {
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                    .open({
                        templateUrl: 'views/room/personal/UserPassword.html',
                        size: 'sm'
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                    .then(function (data) {

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                                popupService.information('删除成功');
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            this.load = function () {
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                    .post('/personauth/findPersonAuthorityList', {})
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redpajama_set_name: RedPajamaGithub


Make L.I.F.E. a Colorful Drive with Mercedes-Benz of Gilbert!
From now until April 6th, Mercedes-Benz of Gilbert has teamed up with the good people at L.I.F.E., or Lauren's Institue For Education, to participate in their "Make L.I.F.E. a Colorful Drive" collection drive to support and raise awareness for children with cognitive disabilities. See how you can help below!
Posted in Community Involvement | Comments Off on Make L.I.F.E. a Colorful Drive with Mercedes-Benz of Gilbert!
Are you looking for the perfect chance to get out and experience a new activity or hobby? Then grab your favorite pair of boots and head to the Gilbert Outdoors Expo held by Banner Health Centers on February 24th from 9:00am to 2:00pm. This event draws exhibitors and attendees from all over the state and features an expected attendance number of 3,000 people or more. Just like last year, Mercedes-Benz of Gilbert is sponsoring the event, so grab your family and get out there for a little adventure!
Year after year, House of Refuge provides supportive services and transitional housing to homeless families all around the Mesa area. In order to help them help others, businesses from all over the East Valley sponsor and participate in the Light the Night Gala. Held on Feb 24th, this swanky, fun-filled evening gives 100% of the event's proceeds to the House of Refuge. This year, Mercedes-Benz of Gilbert will be participating as one of the sponsors of the event. Read more about it below!
Presented by the Gilbert Half marathon and Dignity Health, Gilbert Days parade is a special tradition among the residents of this fine city. Bringing together key community segments such as non-profit organizations, businesses, schools, and more, Gilbert Days Parade celebrates what makes this town great. We had the pleasure of participating in this year's parade, held last Saturday. Take a look at the pictures below!
If you are a resident of Gilbert or any of the surrounding towns, you know how important the area veterans and their families are to our town. So important, in fact, that the Town of Gilbert has established a local chapter of "Operation Welcome Home", a program that works to recognize those who served our country by throwing them a formal celebration when they return from active duty. Recently, the folks at Operation Welcome Home and Biltmore Golf Course hosted the 2nd annual Welcome Home Veterans Golf Classic to raise money for this amazing program. To show their support for the program, Mercedes-Benz of Gilbert participated as a sponsor of the event. Read more about the tournament below!
Every year, the good folks over at the Islands Community Association host their signature event, the Islands Cool Cars Festival. This exciting car show brings out vehicles from every era, from classics to hot rods and everything in between. Continuing our tradition of being a presenting sponsor at the festival, Mercedes-Benz of Gilbert will be there bright and early on Saturday morning with some of the coolest Mercedes-AMG vehicles this fest has ever seen. Read more about our involvement below!
Time sure does fly when you are busy providing only the best in Mercedes-Benz customer service! Exactly one year ago we opened the doors of our state-of-the-art Mercedes-Benz facility in hopes that we could take our knowledge of quality and luxury and share it with the residents of Gilbert and beyond. Today, we are proud to be celebrating a year of successes, from driving our AMG® brand to our commitment to the Gilbert community and everything in between. Keep reading to see some of our highlights from the past year and join us as we reminisce about our past accomplishments.
Come Join Us at the Taste of Gilbert Festival This Fall!
Posted in Community Involvement, Our Dealership | Comments Off on Come Join Us at the Taste of Gilbert Festival This Fall!
Check out the performance features in the entry-level Mercedes-Benz SUV!


text:
from __future__ import unicode_literals

import django.contrib.postgres.fields.jsonb
from django.db import migrations

class Migration(migrations.Migration):

    dependencies = [
        ('net', '0019_auto_20170705_1400'),
    ]

    operations = [
        migrations.AddField(
            model_name='job',
            name='ne_ids',
            field=django.contrib.postgres.fields.jsonb.JSONField(default='', null=True),
        ),
    ]


Congratulations to Connetquot High School junior-athlete Dalton Otto for securing his 100th win on the wrestling mat during a match held at the Walter G. O'Connell Copiague High School tournament on Jan. 12. Dalton first joined the varsity wrestling team four years ago, and has found many successes ever since. With this milestone under his belt, he joins the ranks of a handful of past CHS wrestlers who have also accomplished this extraordinary athletic feat.


As the end of year lists, think pieces and hot takes on all things 2017 roll in, we decided to ask our favourite image-makers to paint a picture of their year through photography. From the catwalk to the countryside, and all across the world, this is Ben Grieme's year in photos.
January I couldn't have asked for a worst birthday than having to watch Trump be sworn in. Thankfully the following day provided some hope in watching the largest demonstration I've ever seen in my lifetime. It was impressive and moving to see so many people gather and collectively focus their voices in support of women and resistance to the new presidency.
February Shot Jackson for a commercial job, but was able to take this photo of him after we wrapped and were hanging out.
March Escaped the winter weather for a few days of shooting in Puglia, Italy.
April Came back to New York and caught up with friends, shot Marcela in her apartment as we hung out.
May Manami was one of my favourite go-sees of the year. Such a sweet heart and great style.
June Alton for Document Journal. Anyone who's met him knows why he's been unavoidable these days. Easiest person to photograph and kindest soul.
July Worked on some new personal work during the summer photographing in the outskirts of NYC.
August First trip to Tokyo was great, but never go in August during a national holiday unless you love unbearable heat and humidity, along with finding every store that you've been dying to visit closed.
September From Tokyo to LA and the west coast for a month plus of shooting jobs. The least LA photo.
October From LA to Portland to catch up with old friends, and seeing about 10 minutes of sunshine over a the period of a week.
November Paris from before the weather changed and the cold rolled in.
December Finishing the year with another great studio visit in Irene. Get me out of 2017, get me to 2018... Get me to 2020 with a new president.


From The Ants Go Marching. Text copyright © 2016 Priscilla Burris. Illustrations copyright © 2016 Priscilla Burris. All rights reserved.
Preschoolers will delight in this fun, repetitious rhyme with adorable ant characters. Watch as they march one by one, two by two, and all the way up to five by five toward a surprise ending! Priscilla Burris's distinctive ants put a new spin on a favourite preschool song.


Popular music has been changing significantly over the years,………………………………………………………………………………………………………………………….anger, disgust, fear, sadness, and conscientiousness have increased significantly, while joy, confidence, and openness expressed in pop song lyrics have declined.
Yesterday, January 25, my computer monitor greeted me with a Bing broadcast image that for the first time since I began receiving Bing images last August 2018 on my new computer was free of those exotic nature panorama sometimes displaying wild animals.
In the candle-like Twinkle Of billboards Denying the moon at times, Pretending To be the attraction Like the dressers Promenading in decade-old Daring.
The muses gift bedecked in shrieks: Stunning feats of vocal dexterity, Pitched high To feed the fancy Of the ravenous crowd.


Looking for Root Canal Therapy in Plant City? For an appointment at Dental Associates at Walden Woods call our office today at 813-752-3030 or make an appointment today.
If you are experiencing any of the symptoms of a root canal problem, please call Dental Associates at Walden Woods at 813-752-3030 to schedule a consultation.


To stop the preview from playing on the Home screen of the Video app of the Android™ TV, follow the steps below.
On the supplied remote control, press the ACTION MENU button while on the Home screen of the Video app.
Under the Video category, select Settings.
Under the General category, uncheck Show last played video.


•Restaurant Servers take customers' orders, serve their food and drinks, and remove used dinnerware from tables in a timely fashion.
•Develop and manage relationships with customers; ensure a positive, friendly and efficient service is delivered by staff and respond to complaints and queries and making a note in the Log book and action taken.
•Maintain standards of performance, monitor and maintain staff training and development needs, such as to meet food hygiene requirements.
•Minimum 1-year experience in related field.
•knowledgeable of drinks with a good knowledge of wine.
•can adapt to a high energy work environment where precision is key to success. F&B staff need to work well with team members to create a positive and cohesive work environment.


text:
New launch from multi-award winning self-tanning brand utan
Utan (formally known as UTAN & Tone) has collaborated with YouTube sensation and beauty guru, Jamie Genevieve and we're excited by the results!
A pioneering brand of its own kind, utan are the original and first tanning brand to have combined skin toning and firming properties with self-tan solutions.
Offering cruelty-free and vegan-friendly products in the range, utan – founded by young entrepreneur Rebecca Mone – has won multiple prestigious beauty awards placing them as brand market leaders when it comes to the self-tanning industry.
Having caused quite the stir in 2018 with a viral campaign of their world's first edible tanning supplements, Tan Gummies, utan have taken the next step to launch two new and exclusive products to add to their collection with the consultation of beauty guru and long-time lover of utan, Jamie Genevieve.
Hailed by beauty's most elite as "a beauty icon for today", Jamie Genevieve made the transition from the make-up counter to a one-woman brand with the support of her 1.2 million loyal followers (and continuously growing). Showcasing her skills in weekly masterclasses and recently appearing in a BBC documentary, it's clear that Jamie is a force to be reckoned with in the beauty world.
Teaming up with utan to create the world first CBD Tanning Water and Skin Idol products, all 100% vegan and cruelty-free, the latest additions are set to take the tanning industry by storm - with A-list stars such as Rihanna and Dakota Johnson amongst fans.
Designed to ensure your tan not only looks topped up but also keeping your skin hydrated throughout, the CBD Tanning Water has been described as a 'miracle product' for its anti-inflammatory properties that help give skin a more youthful appearance, as well as its calming properties helping with anxiety and tanxiety. Scented with a gorgeous Scottish lavender oil, allow all your tanning woes to be washed away with this CBD Tanning Water…
CBD Tanning Water, £18/100ml, available from www.utan.co.uk and nationwide in Superdrug stores!
Jamie's top tip: "I love misting this over my favourite serum or moisturiser at night".
Complementing the CBD Tanning Water is Skin Idol, £24/100ml, a product designed for someone who is always on-the-go and wants to achieve the perfect "Instagram-ready" fix for their skin, without the need for self-tan, as a hyper-pigmented instant body-makeup formula.


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Where the Land Ends
Loïc Darses
Closing FilmRVQC 2019
Loïc Darses' Where the Land Ends gives 17 young Quebeckers of diverse origins a chance to express their views on cultural and political issues. The voices of the participants, who were all born too late to vote in the 1995 referendum on Quebec sovereignty, are heard over images of the places, shown empty, in which the history of Quebec was written, from the Calvaire d'Oka to the Grand Mosque of Quebec City.
As sensitive as it is hypnotic, Where the Land Ends traces the topography of Quebec in a poetic questioning of the province's future. Identity, the question of nationality, the place of Indigenous peoples in our society, the appropriation of space, and the environment: these are all current issues that bear on the difficult question of Quebec's inheritance. It seems as if these young people have not lost their desire to dream.
Against the backdrop of the camera's meditative wandering through the places that created Quebec, Where the Land Ends explores and questions the historical narrative, as a group of young people who were not old enough to vote in the 1995 referendum express their views.
As sensitive as it is hypnotic, Where the Land Ends subtly and lucidly questions ideas of identity and political consciousness in our era, from the point of view of the millennial generation.
The subject of the documentary Where the Land Ends, directed by Loïc Darses, is very clear in the words of one of the speakers in the film: "We've seen all those archival images." Seventeen young Quebeckers, all of them born too late to vote in the 1995 referendum on Quebec sovereignty, talk about the difficulties of establishing an identity long after the end of the great Quebec drama. The images of that drama are indeed well known to all of us. But we are no longer at Expo 67, or at the Paul Sauvé Centre on the night of the Parti Québécois victory; nor are we now in the midst of an electrifying referendum campaign as we were in 1980 and 1995. This is not the spring of 2012, when a crowd of 200,000 people turned out to march in Montreal in support of the longest student strike in the history of the country. As one of the film's protagonists says of the current generation of young people, no one really taught them to hope. Their efforts to create a new "Terre des Hommes" are entirely based on their own ideas. Fifty years after Expo 67 the ambitious project that at the time symbolized Quebec's opening to the world Where the Land Ends offers an unsparing look at the emblematic moments that forged the province's political consciousness.
With no concessions to nostalgia, Loïc Darses gives a new generation at the crossroads a chance to speak: their names are Maïtée Labrecque-Saganash, Jean-François Ruel (alias Yes Mccan), Carl Bergeron, Nora Loreto, Mélanie Hotchkiss, Lucia Carballo, Sibel Ataogul, Jade Barshee, Aurélie Lanctôt, Catherine Dorion, Jonathan Durand Folco, Simon-Pierre Savard-Tremblay, Pierre-Luc Brisson, Alexandre Leduc, Léane Labrèche-Dor, Patricia Boushel and Clara L'Heureux-Garcia. We never see them, these Quebeckers who come from diverse cultures and backgrounds. They are more or less anonymous: only their voices are heard, sometimes blending with barely audible echoes of the past. Loïc Darses's camera tracks across those places where the history of Quebec was written, from the Calvaire d'Oka to the Grand Mosque in Quebec City, observing the Manic-5 dam, Kahnawake and the Parliament Building of the Assemblée nationale, but also passing over the land, lingering on the swirling currents of the St. Lawrence River and the banks of the Gaspé Peninsula. Loïc Darses shows us these places in counterpoint; paradoxically, they are empty. Thus, places to live.
The film unfolds in three major movements: first questioning, then impasse, and finally reclaiming. The speakers express themselves freely on the subjects of identity, activism, the place of the Indigenous peoples in Quebec society, the national question, language, the North American way of life, the environment, history, the passing on of heritage, and the appropriation of space. Where the Land Ends traces the topography of Quebec in the light of present challenges as well as the struggles of the past. Serious but audacious, formally rigorous, the film leaves itself room for a succession of slow, meditative camera movements, inviting reflection. The director's gaze combines introspection and a generous openness, creating a poetic interrogation of our heritage and future horizons. His images predispose the viewer to the same poetic reverie; wandering the four corners of Quebec, they offer us without artifice a revelation of the enchanting beauty of the land.
Where the Land Ends takes up the difficult theme of "those who will follow," to borrow the words of Pierre Perrault, whose Pour la suite du monde (For those who will follow) finds its echo in this film's treatment of intergenerational transitions. It seems as if these young people have not forgotten how to dream.
A Note from the Director
It's often said that a film, in essence, represents a point of view, but in my experience, making a film is above all a matter of taking a position (posture).
What position does one take, faced with reality? How does one engage deeply with a film when the spirit of the times calls for detachment? How can we even approach political engagement, in this strange era when our passionate energies are no longer poured into collective struggles but instead diverted into individual, isolated pursuits, or into populism? In a word, what posture does one adopt?
"This is a suspense film, because the outcome of the story is yet to be decided by all of us," the director Gilles Groulx asserts at the beginning of his militant documentary 24 heures ou plus. In the sociopolitical context of the early 1970s, multiple revolutionary ideas were in the air, and the confident belief that people everywhere in the world could be liberated through transformative action was clearly relevant and right. But today, what remains of this "apprehensive optimism"?
With the triumph of globalized capitalism and the acknowledged defeat of the Quebec independence movement, a filmmaker who wants to bear witness to the time and place that formed him must, once again, pose the question of his community but how is he to do that?
It must be said that any reiteration of Groulx's "apprehensive optimism" at this point in history would be not a posture, but an imposture.
Cinema can't change the world. What it expresses, what it gives back to the viewer, is a subjective image, a reflection of the nature of things. Simply that. This reflection or aesthetic gesture can have no actual grasp of the real. It remains for us, having been tested and changed, or not, by this reflection, to transform, or not, the place and time that belongs to us.
The reflection that I wanted Where the Land Ends to give back is twofold: a voice and a space, both of which I believe we've lost.
Not the voice of a generation, but a voice that I realized I no longer heard, but that I needed to hear.
Not the space of some ideological project but rather the space of a reflection that lived within me, but within which I could no longer live.
The journey that this film proposes is one that I've undertaken myself many times over, and my point of view, as I followed that path, was always evolving. I traversed this film as one travels through life: never knowing at any given moment what route to take, and sometimes forgetting that although a course can be plotted, it can never really be completed as planned. The time of the film, which is now sealed in the past, offers no less than an immediate witness to an extended period of wandering and questioning.
Where the Land Ends might have been a suspense film, but it was never about the outcome of its story.
I emerge from it, however, with a conviction (read: point of view) that will never leave me: when we are faced with the political impasse expressed in this film, we must change our posture our position.
Maybe a new optimism, without fear or reproach, will appear in the form of a renewed faith in humanity's power to create, perhaps not to create that grand, tangible, comprehensive revolution that has always, in its mere prospect, stirred passion and unleashed repression but to achieve instead, through art or any other means, countless far smaller upheavals, palpable or spiritual, in the hearts of all those who are surprised to find themselves still wishing to be moved by our shared humanity.
And yes, I would like to believe in that.
The origin of the project, told by Colette Loumède
Where the Land Ends is a film that proves the fundamental importance of seeking out new talent wherever it appears. For the Repêchage initiative in 2015, the École des médias (UQAM) gave me access to a pool of graduating students, from which I selected a trio of promising young creative talents trained in three different aspects of documentary filmmaking. The goal: to provide them with an opportunity to film their first professional production, and to encourage them to make it an exceptional work, using all their talent and potential.
The three I chose were a director, Loïc Darses; a film editor, Philippe Lefebvre; and a cinematographer, Charlotte Lacoursière. This trio was joined partway through the filming by another cinematographer, Louis Turcotte. My job was simply to go with these young artists wherever their work took them, allowing them complete creative freedom.
For me, producing is a learning experience. Every time I produce a film I discover something new about my trade, in ways I could never have predicted. Working with the young filmmakers on Where the Land Ends was a veritable meeting of the generations. What a gift for me to discover them and their way of seeing the world, to give them the means to express their relationship to images, and to invite them to take up and use the tools of cinema as they pleased! In short, to trust them. My thanks and congratulations to them all for completing the project so successfully.
A side note: Where the Land Ends, a film about Quebec's identity and its territorial and political consciousness, includes not a single archival image and not one speech by a politician, this despite the fact that I also produced Luc Bourdon's The Devil's Share and The Memories of Angels, both based exclusively on archival footage! And so one thing I know for certain: every project is an opportunity to reinvent yourself, in style and substance, even when it makes your head spin.
To me, that is an essential part of the NFB's role as Canada's public producer. We do not have the right not to take risks, not to aim to renew ourselves over and over again. This magnificent invitation to surpass oneself is extended to young and established directors alike, as well as to creative crews at the NFB and in the film community at large. For Where the Land Ends, that is exactly what I proposed: choose the less obvious film, go with the idea that scares you most, take a chance on the project whose outcome is least certain. And, finally, never lose sight of the viewer, remembering always that the goal is to create meaning.
The origin of the project, told by Loïc Darses
There are films we carry around within us that demand to be born, to exist; at the very first opportunity, whatever the context, they will emerge. But there is another kind of film, which appears only in a particular context, or because certain unique circumstances have aligned. I would personally place Where the Land Ends in the second category.
Not that this film is any less close to me than the others, or less deeply felt. On the contrary. But it must be said that it grew inevitably out of certain specific circumstances: I had just graduated from the UQAM film program, and I immediately joined the NFB, thanks to my producer, Colette Loumède, who literally came to find me at school so that we could start work together.
To put it another way: I would never have made this film (at least this version of it) if it weren't for the NFB.
This was a very rare set of circumstances. It's not an everyday occurrence for the most important documentary film institution in the country to open its doors to a young filmmaker, barely 20 years old, and to greet him with, "Okay, little brat, come on in. We want you to give us your perspective on things." Of course, with this invitation came a serious responsibility, and not just to the high standards of the institution. I had to live up to the incredible chance I'd been given. I had to show I was up to the task.
The context, improbable as it was, allowed me conceptualize a film that would turn out to be just as improbable. And truth be told, this film would have been virtually unproduce-able in any other circumstances. The immense freedom I was given, the (sometimes blind) confidence of my producer, and the absence of any real financial constraints made it possible for me to imagine my film inside my own charmed circle, isolated from the traditional norms.
I had a sandbox of my own to play in, and a free hand. This gave me the idea of making a film I had dreamed of seeing, a film I knew would never have the remotest chance of being produced if it weren't for the extraordinary opportunity I'd been given. At the beginning I had two others on my team, my fellow UQAM graduates Philippe Lefebvre and Charlotte Lacoursière, as editor and director of photography respectively. Later, a fourth musketeer, Louis Turcotte, joined our group, taking over images and visual effects. And so I was launched into the mad adventure of "turning the camera around" towards my contemporaries, and trying humbly to define, through their words, the political spirit of this time, in this place called Quebec.
All that being said, I have to admit that long before I ever thought of Where the Land Ends, I had always dreamed of making "an NFB film."
And that means what, exactly?
In the year 2019, what is "an NFB film" for a young filmmaker whose national cinematic education was chiefly acquired in the heart of that very place, a place that might fairly be described as sacred?
Part of my answer to that question is Where the Land Ends.
The film is also in part a response to the Direct Cinema of the 1960s; but it draws its real inspiration from the larger context of Quebec cinema and the NFB in the 1970s. Where the Land Ends returns to and renews elements of the key themes of that time, including identity, politics, territory, etc., but it proposes a different, shall we say, a more "indirect" approach.
And the beginnings of an answer to that open question. What is the essential nature of an NFB film are surely to be found in Where the Land Ends, in the work itself, with its highwire act balancing tradition and modernity, moving from heritage to a future in which the best way to create a relationship with our predecessors, our "ancestors," may be to try to create a new dialogue.
For me, as a filmmaker, what was fascinating about Where the Land Ends was that the creative tension at the heart of the "NFBian" context of the project was in essence a metaphor for the reflections contained in the film itself, in the picture it paints of Quebec in transition. And in this sense the documentary resolutely inscribes itself in the tradition. In asking what "an NFB film" is today, Where the Land Ends seeks to gather up the threads of history and do with them what was always done by our predecessors we address the past, telling our story of the present, so that those who come after us can take up the thread in their turn.
The National Film Board of Canada (NFB) will be at the 37th Rendez-vous Québec Cinéma, February 20 to March 2, 2019, with a selection of 15 NFB productions and co-productions directed by filmmakers with strong auteur points of view—nine feature-length documentaries, five animated shorts, and an immersive documentary. Whether examining inner landscapes or the tangible, inhabited world, these works take a bold look at the notion of territory. Loïc Darses's feature documentary La fin des terres (Where the Land Ends) will receive its world premiere at the RVQC's closing event. This poignant film takes an uncompromising stance in exploring the political, territorial, and identity issues of our time in Quebec, from the perspective of a group of millennials. To read more.
Photo : Amélie Hardy
Loïc Darses is a young screenwriter and director who has already made his mark in the film world. He holds a bachelor's degree in film from the Université du Québec à Montréal (UQAM), where he directed Elle pis son char (2015), a short documentary that won several awards and was selected to screen in the official competition at Sundance, Rotterdam, and other film festivals.
In 2003, Darses' mother, Lucie Tremblay, created a video archive in which she recorded her search for the man who abused her sexually when she was a child, between the ages of 8 and 12. Working from that archive, Darses created a powerful film that has been called "unclassifiable, an original, disturbing, intimate, violent and tender road movie that opens a window on the life of a woman seeking to heal old wounds" (Patrick Lagacé).
In Where the Land Ends, we encounter the same concern for inheritance, the passing of the baton, and the same poetic desire to draw the viewer into endless landscapes. Through the words of 17 young Quebeckers who were not yet 18 at the time of the 1995 referendum on independence, Darses addresses questions of identity, the environment, the sovereignty of the people, and the place of Indigenous peoples in Quebec society.
He is now at work on a new short film, his first venture into fiction, Cercueil, tabarnak!, which is part road movie, part thriller and part filial tribute set against a backdrop of mourning. Tax fraud, shady undertakers, and referendum defeats all feature in the plot.
Colette Loumède is a key figure in the world of Canadian documentary film. In her more than 15 years with the NFB, she has produced or co-produced close to 50 films, most of which have been screened at major national and international festivals and won prestigious awards. Her constant search for talent, whether in newcomers or established artists, has led to important contributions in auteur documentary, a form that explores different kinds of narrative approaches to subjects as diverse as investigative geopolitical analysis and stories of complex personal relationships. She has worked at the NFB as producer or co-producer with some of Quebec's greatest filmmakers: Jacques Godbout (Les héritiers du mouton noir), André Melançon (Printemps fragiles), Serge Giguère (À force de rêves, Le mystère Macpherson), Richard Desjardins and Robert Monderie (Trou Story, Le peuple invisible), Patricio Henríquez (Sous la cagoule, un voyage au bout de la torture, Ouïghours, prisonniers de l'absurde), Luc Bourdon (La mémoire des anges, La part du diable), Paule Baillargeon (Trente tableaux), Carole Laganière (Absences), Claude Demers (D'où je viens), Jean-Claude Labrecque (Sur les traces de Maria Chapdelaine), Sophie Deraspe (Le profil Amina), Hugo Latulippe (Alphée des étoiles), Jean-François Caissy (La marche à suivre, Premières armes) and Céline Baril (24 Davids).
Philippe Lefebvre was born in Montreal in 1991. He studied screenwriting and literary creative writing before starting training in post-production for his bachelor's degree in film at UQAM (2012–2015). While still at the university he edited French et fèves au lard and Gas and Wine Taste the Same (Emmanuelle Lacombe), both of which were selected to screen at several festivals. After completing his studies, he edited Le cri de la marmotte (Colin Nixon), which was selected at the Montreal International Documentary Festival (RIDM) and won best short documentary at the Festival Regard 2017; Marguerita (Paul Tana); and the web documentary series Savoir–faire (Julien Fréchette). In 2018, he took on the editing of several short fiction films, including Drap contour (Laurence Lévesque) and -21 (Colin Nixon). He joined the NFB first as assistant editor, then as editor; Where the Land Ends (Loïc Darses) is his first feature. He is currently editing the NFB documentary series Ramaillages (Moïse Marcoux-Chabot); he's also directing a number of film projects, both documentary and fiction, some of them in collaboration with his brother Alexandre Lefebvre (Prends ma main, Je t'aime, je m'en vais and Sur la grande terre).
Charlotte Lacoursière
Charlotte Lacoursière is a Montreal-based photographer and director of photography. While she was a student at UQAM, she shot French et fèves au lard, which was selected to screen at several festivals, among them the Festival Regard in Saguenay, the Rendez-vous Québec Cinéma and the Air Canada enRoute Film Festival. After completing her university studies she was chosen along with two other recent graduates to take part in the National Film Board's Repêchage Initiative, and as part of this program she worked on the feature documentary Where the Land Ends.
Louis Turcotte
Louis Turcotte first became interested in cinematography and experimental film as a student at the Université de Montréal. After completing his degree in film studies he worked as an intern with director and visual artist Karl Lemieux, assisting at live performances and also with the preparation of Lemieux's film Ondes et silence. The experience enabled him to establish his own professional visual practice. His next project was creating experimental visual effects for Loïc Darses' short documentary Elle pis son char. Since then he's worked as director of photography for music videos and documentary films, and as lighting technician on films and series in both Quebec and the United States. Where the Land Ends (Loïc Darses), produced by the NFB, is his first feature documentary as co-director of photography and designer of experimental visual effects.
Sibel Ataogul
Jade Barshee
Carl Bergeron
Patricia Boushel
Pierre-Luc Brisson
Lucia Carballo
Catherine Dorion
Mélanie Hotchkiss
Clara L'Heureux-Garcia
Léane Labrèche-Dor
Maïtée Labrecque-Saganash
Aurélie Lanctôt
Nora Loreto
Jean-François Ruel
Simon-Pierre Savard-Tremblay
Researched, written and directed by
Datamoshing
Technical Advisor – Camera
Additional Camera Assistant
Hubert Auger
Translation and Subtitles
Sound Recording – Interviews
Luc Léger
Shelley Craig
Composed and performed by
With the permission of
WARP PUBLISHING
Appears Courtesy
SUNBLIND MUSIC
HARMONY IN BLUE I
KRANKY, LTD.
MUSIC OF THE AIR
PAPER BAG RECORDS INC.
PASSACAGLIA AND FUGUE
IN C MINOR, BWV 582
Composed by J.S. Bach
Performed by Gerhard Zukriegel
NAXOS OF AMERICA INC.
NO DRUMS
UNE LUTTE
SIMON CHIOINI
BALKANIZE-YOU
TRADE WINDS, WHITE HEAT
HARMONY IN BLUE III
AERIAL LIGHT-POLLUTION ORANGE
INCURABLY OPTIMISTIC!
BLOOD RAINBOW
Simon Beaulieu
Santiago Bertolino
Rosalie Chicoine Perreault
Yann Darses
Yohann Darses
Alexandra de Launière
Patricio Henríquez
Laurie Laberge
Alexandre Lefebvre
Sylvia Mezei
Colin Nixon
René Roberge
Lucie Tremblay
Gilles Groulx
Pierre Vallières
Marie-Claude Lamoureux
Judith Lessard-Bérubé
Gabrielle Dupont
Rozenn Potin
This film was produced as part of
THE REPÊCHAGE INITIATIVE
with the kind collaboration of the Film Program at
UQAM'S SCHOOL OF MEDIA
We would like to thank
DENIS CHOUINARD,
Head of the Film Program at
DIANE POITRAS AND PAUL TANA
for their invaluable assistance
FRENCH PROGRAM
A NATIONAL FILM BOARD OF CANADA
© 2019 NATIONAL FILM BOARD OF CANADA
m.c.lamoureux@nfb.ca | @MC_ONF


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./batch_sf.sh "Idaho" production
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Skeptics ask hard questions. Why does God allow suffering? How can there be one true religion? How could a loving God send people to hell? Timothy Keller—Presbyterian minister, Manhattan church-planter, and prolific author—answers winsomely in his book The Reason for God. His audience: spiritual seekers, skeptics, and even some Christians. His method: use little Scripture and lots of philosophy, literature, reasoning, and real-life conversations.
In Part 1 "The Leap of Doubt", Keller "examines the beliefs beneath the seven biggest objections or doubts people in our culture have about the Christian faith" (119). He asserts that, contrary to atheistic opinion, it is impossible to leave one's worldview behind in the public sphere. Evil and suffering is actually evidence for God (chap. 2) and denying God's judgment actually encourages violence (chap. 5). Part 2 "The Leap of Faith" moves from attacking reasons for disbelief to offering sufficient reasons for belief. He addresses the problem of sin, the knowledge of God, the cross, the resurrection ("the issue on which everything hangs"), and the Dance of God (the Trinity).
A classic example of Keller's pursuit of relevancy is chapter 12: "The (True) Story of the Cross." Keller beautifully examines the tie between forgiveness, the cross and why God can't just forgive us. He does this with anecdotes, personal stories and quotes from Gandhi, Stott, O'Conner, Bonhoeffer, and N.T. Wright—and not a single Bible verse. He is not unbiblical, only in search of a particular audience: seekers and skeptics.
Chapter Three ("Christianity in a Straitjacket") was the best in the book, which gives a glimpse into Keller's method of ministering to New Yorkers. He forced me to ponder if our church plant here is as African as orthodoxy will allow.
Keller pulled ideas from everywhere. From Wilberforce and Lewis to Bono and Darth Vader, there was no genre off-limits. I determined to glean better from every source of knowledge.
The basis and argumentation for what I believe became more tight and accessible.
Its been a while since I've read a well-reasoned, theological book that I would call "fun". But what made Reason for God such an enjoyable ride was the route he took. He passed the exit on "Scripture" (though it still supports his points clandestinely) and got off on "Reason" where the skeptics live. He uses argumentation they can understand. His knock on Creation Science (called "Conflict model") and support for natural selection (he takes Francis Collins' view) was bad exegesis and a weak attempt at winning the scientific crowd—but don't let that turn you off. A fundamentalist could never have written this book. It's too relevant, too winsome, and too rich. Buy this for your library and a seeking friend.


Employment numbers through the first half of 2015 show that, in areas where the hiring outlook has improved, the construction industry is a key cornerstone. Similarly, regions with higher overall unemployment rates are lagging in construction hiring.
For example, Washington State posted its best employment in seven years in June 2015. The Seattle Times reports statewide unemployment of 5.3%.
"The construction sector played a key role in that, adding 17,700 jobs statewide between June 2014 and June 2015, second only to the professional and business-services sector, which added 20,800," the report says.
Conversely, NJ.com reports losses in construction in New Jersey, and statewide unemployment that remains above 6%.
For construction workers seeking employment opportunities, and who are willing to relocate, keep tabs on the regions with rising employment. Those sectors are fueling more construction jobs -- and construction jobs are fueling the growth in hiring across other fields.


We organize several special events during the academic year open to all Fordham community members. Please visit the IT News Event Calendar to RSVP to our events.
At the end of August at the start of every academic year, we organize a New Faculty Technology Orientation for new instructors. This is usually a half day event and provides our new Fordham community members with an overview of IT services and instructional technologies available. Current faculty and adjuncts are also invited to attend.
Each May, we organize Faculty Technology Day with keynote speakers, breakout sessions, technology raffles and more!
This discussion series was launched in 2014 and held concurrently on both campuses as part of HASTAC's FutureEd initiative and based on Cathy Davidson's MOOC on Coursera. There are also notes from the sessions as well as resources on many issues such as online learning and education reform.


text:
Q: How to merge lecture notes from the web into a single PDF file I have some lecture notes which are located at:
www.mywebsite.com/Lecture1.pdf
www.mywebsite.com/Lecture2.pdf
etc
In Automator I currently have done the following:

*

*Get specified URLs

*Download URLs

*Combine PDF pages

*Open Finder Items

This works, however, I have to manually type in all the URLs in step 1. Is there a simple way to automate all of this (maybe using AppleScript?)? I want something like
$list = 0
for $i = 1; $i <= 25; $i++
add "www.mywebsite.com/Lecture" + (toString)$i + ".pdf" to $list
end for
return $list

Edit: I managed to write this code:
on run {input, parameters}
    set i to 1
    set myList to {}
    repeat while i is not 26
        set ur to "http://www.website.com/Lecture" & {i as text} & ".pdf"
        set myList to myList & ur
        set i to i + 1
    end repeat
    return myList
end run

But for some reason the lecture notes are not merged in the correct order. What I get is Lecture 1, Lecture 3, Lecture 2, Lecture 4 etc. I also removed Step 1 from above.
Edit2: It seems I had to put a sort between Step 2 and 3. Now it works!

A: Easiest Way:
Put all PDFs in one folder.
Select All and Open.
Make sure View -> Thumbnails is checked, so you can make sure everything is in correct order.
Click File -> Print.
In Print Window, click PDF -> Save as PDF.

redpajama_set_name: RedPajamaStackExchange


text:
using System.Collections.Generic;

namespace Typewriter.CodeModel.Collections
{
    public class AttributeArgumentCollectionImpl : ItemCollectionImpl<AttributeArgument>, AttributeArgumentCollection
    {
        public AttributeArgumentCollectionImpl(IEnumerable<AttributeArgument> values) : base(values)
        {
        }
    }
}


text:
Bad pizza, good ice cream
May 6, 2018 alex
The train arrives in Santa Clara about 6 am and outside the station are a line of horse-drawn taxis.
It's a 12 or so block walk, past a nice square, ring the bell at our hostal and wait, and wait, and ring and wait.
Back to the well-cared-for central square, sit down at a 24-hour hamburger stand and pay 1CUP each for a coldish glass of an orange-colored beverage. The WiFi is working, our host Alain responds and it's back again.
The house is in great shape, the toilet and AC works and we sleep until lunch. Alain lives in the house with his mother, is renovating the one next door to expand his operations, and has four or five women employed cleaning and cooking. One makes a stew of beans, malanga(?a type of root vegetable) and smoked pork and sausage. That's followed by a whole fish for each of us, served on top of fried potatoes along with rice and a salad. Dessert is a soft cheese and mango purée. Well worth the 12CUC.
The heat of the afternoon is avoided by napping and watching Real Madrid lose to Juventus but advance in the UEFA cup tournament on total goals scored.
The hammerıng sun subsıdes, so it's time for a stroll over to see Che's tomb where his resignation letter to Fidel is displayed in metal type on the wall.
Then, two strange dining experiences. The first, a stop at an ice cream parlor that drew lines earlier in the day. We sit down, learn they don't have bottled water and bring us the only thing on the menu, small plates of ice cream. It turns out it's a government run parlor where the public can enjoy heavily subsidized and delicious ice cream.
Next, a pizza place for an appetizer of small wedges of sliced ham called Jamon Viking and a Velveeta-type cheese wilting in the humidity before a pizza made with the same cheese atop a puffy pre-made crust.
That's all forgiven by a stop in an exquisite hotel down the block where a tumbler of seven-year old Havana Club rum with one giant ice cube sets me back $1.50CUC.
That soothes the pain of my Yuban delusion but I'm convinced something is still out there. Pondering this, it's off to one our main objectives, a Cuban baseball game. A 10-minute walk brings us to a sports complex with riverside barbecue grills and tables for picnicking, a few bars and restaurants, a playground and park decorated with an out-of-service fighter jet and helicopter and a large stadium.
Vendors line the parking lot in a row and the ticket lady explains the seats are one or two pesos CUP, and my CUC seem like a headache to her, so I buy a beer outside and get change. She says we can sit in the area behind home plate for foreign visitors and we plop down in the front row behind home plate.
The players are preparing for an upcoming international competition and are split into central and western teams. The Centrales jump on the Occidentales starter early and are up 5-0 after two innings. He seems to have settled down when I come back from the bathroom, which had a 55-gallon drum instead of running water because all of the faucets and the toilet tank were missing or never installed.
The game ends when a light in right field blows out with a tremendous pop and the officials decide to call the game in the sixth inning.
Walking back, I notice
the houses in Santa Clara are generally in much better shape and Alain dismisses Janet's comments about stairwells and facades, saying people can pool their money for repair. The larger size of many Havana buildings makes me think that's harder.
The next day, we arrange our scheduled 16-hour train ride to Santiago, where another Airbnb host awaits us. At the snack bar I discover what this country has is a good 4-cent cigar.
Government subsidies provide items that are astonishingly low-priced for foreigners: a four-cent cigar, eight-cent baseball ticket, 24-cent beer. That also helps maintain a low-cost workforce for the tourist hotels, shops and attractions that their employees will never patronize. In some ways, this seems no less bizarre than the out-of-control San Francisco real estate market that spawned Airbnb.
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From next month, Sony will cease support of full game download codes sold at retail, with digital games to become exclusively available through the PlayStation Store.
GamesIndustry.biz has reported that a Sony Interactive Entertainment spokesperson said: "I can confirm that as of April 1, 2019, we will no longer be offering full games through SIE's Global Digital at Retail program. The decision was made in order to align key businesses globally.
A memo shared by to GameSpot employees outlined the full details of the coming changes. Existing codes shelves are expected to be deactivated by the end of the month.
No official comment has been made regarding the upcoming April release of Mortal Kombat 11, or Days Gone, assuming this is due to the immediacy of their launches.


text:
Motivating students through Saudi Summer Internship program
Sep 16, 2018 Events
Twenty-nine Saudi undergraduate students took part in this year's KAUST Saudi Summer Internship (SSI) program, which introduced them to University research. File photo.
-By Omar Shamma, KAUST News
Five years ago, the KAUST Saudi Summer Internship (SSI) program began with only six visiting students. This year, 29 undergraduate students from top universities in Saudi Arabia participated in the eight to 12 week-long program, which introduced them to research in the University's Computer, Electrical and Mathematical Science and Engineering (CEMSE) division. Each student was assigned to a CEMSE lab, completing research there alongside a KAUST faculty member.
Dr. Tareq Al-Naffouri, KAUST associate professor and lead faculty member involved in SSI, noted the program has been steadily growing in the quality and number of students since its inception, allowing interns to participate in graduate-level research; develop their English language skills; and create effective poster designs to communicate their work.
On August 6, the students participated in the SSI Poster Competition on campus, setting up their research posters for their faculty mentors and the rest of the KAUST academic community to view. The poster session at the conclusion of the program helped students summarize what they worked on during SSI and gave them a chance to see the results of their fellow participants' work.
A poster competition for participating students and the KAUST academic community concluded the SSI program on August 6 this year. File photo.
Posters were branded with the logo from each lab where the students worked, with visitors to the competition asking students questions about their research and their summer experience at the University. They also awarded the students' posters with four different colored Post-It notes, with each color corresponding to one of four categories: Understandable; Academically Sound and Intelligent; Engaging and Entertaining; and Aesthetically Pleasing.
Abdulmohsen Alsaui, an SSI participant from King Fahd University of Petroleum and Minerals (KFUPM), noted, "I am happy that when I go back to my home university, I can explain to people what I did at KAUST and I can use [my] poster as a presentation of my work, making it easy to communicate what I did."
An SSI student shows off his poster during the program's poster competition on August 6. File photo.
"It was amazing working in the labs. It was so fun," said Asmaa Al-Saggaf, an undergraduate student at King Abdulaziz University and an intern in the University's Robotics, Intelligent Systems, and Control (RISC) lab. "Some obstacles brought me down while working on my project, but the KAUST lab environment helped me overcome them."
"I feel like when I go back to university, I now have more motivation to study. If someone asked me to explain the best thing I got from coming to KAUST, I would tell them it is that now I have more motivation to study and gain a better understanding of my courses," Alsaui added.
Members of the KAUST academic community judged the SSI students' posters on several different criteria during the on campus poster session on August 6. File photo.
SSI projects do not always end with the closing poster session. Students from local universities are provided with weekly transportation to KAUST to work on any continuing projects.
"Some interns from local universities continue to work on their summer projects by commuting to KAUST once per week during the academic year. Some interns coming from universities like KFUPM, with which we have joint projects, continue their summer research with our collaborators there," Al-Naffouri said.
At the conclusion of the poster session, SSI faculty tallied up the number of Post-It notes on each poster and acknowledged the students with highest number in that category. Student Suhail Aldhurais had the most "Understandable" presentation. Participant Sarah Basyouni's poster was the most "Academically Sound and Intelligent" and the most "Engaging and Enjoyable." Students Hamad Alsayegh and Ahmed Almehdhar tied with fellow SSI participants Abdullah Zayat and Safwan for the most "Aesthetically Pleasing" presentation.
SSI students discussed their posters and research work with each other during the August 6 poster competition. File photo.
This year's SSI students have now returned to their home universities, but Al-Naffouri is confident in the future of SSI.
"The internship allows KAUST faculty to closely work with the visiting students and get to know the schools they're coming from. Through this interaction and through [the] poster competition, an increasing number of faculty [members] are better able to gauge local students and are encouraged to consider them as visiting or even full-time students [at KAUST]," he said.
Alumni Focus: Ahmed Abdulmajeed Alabdulkarim, M.S. '11
Ph.D. student Maha Alamoudi awarded ICSM Prize
Saudi students win medals at IChO 2018
STEAM boosts entrepreneurial capacity


If the dream of every money manager is to end up owning his or her own operation, then Michael Sprung has achieved success. Sprung, who has spent almost three decades in the money management business, has set up Sprung & Co. Investment Counsel Inc., a Toronto-based firm that will focus on meeting the investment needs of high net-worth individuals.
And with good reason: Pension fund sponsors and consultants are not much inclined to award mandates to new managers. The working rule is that a three- to four-year track record is required.
Sprung has worked with a number of firms, including the former Ontario Teachers' Pension Plan Board; Ontario Hydro; Goodman & Co. and YMG Capital Management. Most recently he was with GlobeInvest Capital Management, whose major shareholder is B.C.-based Graydon Elliott. His new business will be seeded with the assets of some long-time private clients. Sprung said there are about $15-million of such assets.
Sprung plans to offer segregated investment management – meaning that clients' assets won't be tossed into pools. In this way, each client has, in effect, a customized portfolio.
"The idea is to tailor the management of the assets to their circumstances and goals." Sprung plans to invest in all asset classes, including fixed income. "The asset mix [the split between asset classes] will be driven by the value investment discipline," said Sprung, who expects that a typical, individual account will be split 60/40 between equities and fixed income.
Posted on Oct 19, 2005 . This entry was posted in Portfolio Management by Robert Champion. Bookmark the permalink.


This Standard Charger charges an empty battery in about 11 hours. This comes standard with your machine, however it is available to purchase a replacement or spare if needed. This is a smart charger which will not damage your battery if left on too long but we recommend avoiding keeping it charging for many weeks at a time as there is always a bit of trickle charge even if the battery is full and that just wastes electricity.


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Unlike a lot of abused drugs, an overdose of marijuana isn't lethal, as stated by the National Cancer Institute. Medical bud has to be acquired at state-licensed dispensaries just when patients dwell in guys which don't possess an operational dispensary. In Colorado there are a lot of health practitioners and practices that are dedicated to medical bud referrals.
To begin with, observe you could full yourmedical marijuana evaluationfrom any platform that's access. Without respect towards the hassle and cost of having to renew Your Medical Marijuana Card every single season, it actually is fortunately really straightforward to do, especially if you've got access to this web. To start out with, see that you can finish your health care marijuana evaluation out of any platform that's access.
A lot of people can utilize marijuana recreationally without growing dependency complications, but a number of hundreds of 1000's may not, plus it's not in any respect ridiculous to look for professional guidance if you're experiencing difficulty overcoming a dependence on marijuana. In specific communities, you may be frowned upon or judged by people who don't agree with bud. Medical scientists have demonstrated that medicinal cannabis could really assist enhance people's health.
Cannabis is still a medication but it's extremely useful in treating most people who have several aliments. Pot is really a substance and was demonstrated to function as great for people. Marijuana might be of use instrument for overcoming certain health conditions and also is thought to be some type of choice medication.
Still don't have some farther and someone is allowed to purchase. In the event the individual is not in somewhere to reach that, 6 Get the county to locate out additional. The Intessa professional medical marijuana clinic ensures you're likely to receive two year Registry Card or all your hard earned money will be reimbursed.
A. It is a good idea to consume marijuana in the solitude of a person's property or a various private residence, particularly inside the proceedings you ought to be smoking. Using a medical marijuana card in your hands, it is the ideal moment to discover the way to accomplish bud and we are here in order to help you accomplish this throughout our set of wellness marijuana dispensaries. Following that, you are going to be instantly brought to the marijuana space or you will need to wait before your called straight back again.
Medical weed might be utilized in quite a few of methods. Medi cal marijuana is simply one of several medications out there. Medical Marijuana (MMJ) has been discovered to be very secure and effectual for a array of health care troubles.
In the event you opt not to rekindle your card along with a card is authorized to expire, you ought to be mindful that the associated specified caregiver's card will be voided. Care giver cards also expire and also you needs to go renewed.
As soon as an individual doesn't desire to possess problems, they then have to enroll bud card using those exact personal. It's accurate that you never need a credit to obtain bud in Colorado. There are several of vital things you want to know before to having your healthcare card.
As mentioned,, many health practitioners doing medical marijuana evaluations are going to have notary onsite which will help with this thing also. The physician trip to discover recommendation may be paid for by a medical insurance coverage, but additionally it might require searching out a provider who's about to recommend marijuana for remedy solution, which might certainly mean moving beyond the authorized provider system. Many countries also supply a selection for people.
A tip of advice is to check the drinking water once you've added the nutrients. The marijuana card depends upon the medical condition of the individual. At case enough period has came for your health bud renewal, you're probably thinking what kind of approach you will have to experience.
While some states allow you to savor certain benefits dependent on the advice of one's physician, the majority of states want one to write a program to your condition for approval. Certain places permit you to accomplish all the essential paperwork, while some are going to expect one to possess nearly all of their job and just furnish the physician's certificate. Even though you don't require this particular card per se, you require a fresh marijuana doctor's recommendation correspondence to demonstrate you still have medical issues that require using overall health cannabis.
You head into a health club and see with doctor. You can not only purchase a card, either or simply hold on a physician's note and believe that you're protected. It really is way better supply this doctor with your medical records if at all doable.
Around Earth, healthcare bud adopted from the agreements as an alternate remedy for people that have problems with numerous chronic conditions, the suggestion of health marijuana has been come are the only efficient therapy. Sacramento's medi cal patients also have recognized the simple fact that cannabis can be just a excellent replacement in handling their medical difficulties. Marijuana Therapy was found out for a different remedy to certain health ailments.
Seek advice from your state legislation to find out whether you're able to utilize. The majority of states want to constantly be certain marijuana is now used and can be necessary for that person's health condition. Apparently, different countries have various laws, however some nations permit you to grow your own medicine after you're in possession of a medical marijuana card.
Furthermore, it has to be noticed that the cannabis card holder should be marginally attentive when applying this specific privilege. The expiry date on the current card looks about the suitable aspect. The expiry date on the current card seems round medical weed doctor the ideal aspect.