text:
Steve Erickson
Steve Erickson has contributed to The New York Times, Esquire, Rolling Stone and Los Angeles. He teaches at CalArts, and his new novel is These Dreams of You (Europa Editions).
The Right's Cult of Obama
From Peggy Noonan to Mitch McConnell to the Tea Party caucus, conservatives have a habit of making it all about Barack, all the time.
Steve EricksonJun 06, 2013
AP Images/J. Scott Applewhite
What are we going to do about Barack Obama? More than any president in memory he has seeped into every aspect of the nation's collective political consciousness—not the influence or charisma or persona of Obama but the fact of him. We've become so vested in him one way or another that no one is capable of dispassion about anything that has to do with him even indirectly. This includes those who have supported him and find themselves rationalizing, emotionally if not intellectually, how a former constitutional lawyer can have a record on civil liberties that's occasionally confounding when it isn't dismaying. It also includes those to the left of Obama who have never trusted him and have been predisposed from the outset to finding him compromised and wanting. But it's the right, of course, that most spectacularly manifests how Obama-centric the political culture has become. Though it once seemed this couldn't be truer than during last year...
A Week of Bleak Metaphors
Tornados, IRS scandal, Benghazi scrutiny, and wire-tapping; the country has seen its fill of bad omens and forboding in recent days. What's Obama to do to change the narrative?
Steve EricksonMay 23, 2013
AP Images/Brennan Linsley
This was going to be the week when we learned what last week meant, which is turning out to be true in a way we didn't anticipate barely 72 hours ago. We were going to learn whether last week was the beginning of a crisis that would fatally wound if not kill the Obama presidency or if it was merely the most egregious manifestation of right-wing bad faith. Instead the cataclysmic Oklahoma tornado, along with the gathering politics of the scandal surrounding the Internal Revenue Service, inevitably engage the American public in a consideration of government itself—what it's good for and what it isn't, how it serves us and how it betrays us. In sheer partisan terms, the IRS matter is a godsend to conservatives for whom Benghazi had become a mantra long on glee but short on comprehension. If the Republicans I know, including my 85-year-old mother, are so obsessed as to nearly mutter Benghazi in their sleep—that very name almost as deliciously ominous in its...
The Frankenstein Foreign-Policy Crisis
The last week has been not so much a case of national déjà vu as a Philip K. Dickian time-slip where the past bleeds into the present and transforms it. Syria is potentially the frankenstein of foreign-policy crises, made up of the parts of dead blunders: Vietnam, where we learned that firepower won't overcome the unquantifiables that make for a quagmire; Iraq, where we learned that intelligence may be faulty or manipulated; Libya, where we learned both the combat possibilities and limitations of no-fly zones; Afghanistan, where a quarter-century ago we armed freedom-fighters who became accomplices in the murder of 3,000 citizens on American soil; Kosovo and Rwanda, where we ignored mass slaughter at the cost of our collective conscience; and Somalia, where we answered the call of conscience to disastrous end. Syria surpasses them all. With a warring population becoming ever more kaleidoscopically sectarian, and an air-defense system as sophisticated as any in the...
The Second Explosion
Steve EricksonApr 19, 2013
AP Photo/Elise Amendola
AP Photo/Elise Amendola One of the blast sites on Boylston Street near the finish line of the 2013 Boston Marathon In the 21 st century, American malevolence comes in twos. Just as people couldn't begin to grasp what was happening until a plane hit the second of the Twin Towers on September 11, 2001, the full impact of what took place Monday in Boston didn't sink in until, 13 seconds after the first explosion, another immediately confirmed the true implications of this particular horror. Tellingly and understandably, the initial response by all of us was to wrestle with the word "terror," because as much as any word "terror" has become the rorschach of our modern rhetoric, a characterization that transforms the dimensions of an event even as the facts remain the same, when instead we might call what happened merely a "crime." Was the explosion that took place at the Atlanta Olympics in the summer of 1996 less an act of terror because it...
The Gun Debate's Inconvenient Truths
Flickr/Brett Weinstein
The current yelling match about guns is distinguished by two truths disconcerting to each side. As loony as the argument sounds after a history of 224 years, the faction that opposes any oversight or management of gun rights is correct about one thing. The Second Amendment doesn't exist to protect people's right to hunt. It doesn't exist to protect people's right to shoot a thief or intruder. Derived from a similar stipulation in the English Bill of Rights of the 1600s, the Second Amendment exists for the same reason as the rest of the Bill of Rights—to further define the relationship between individual freedom and state power, and in this case to prohibit the state from unilaterally disarming the citizenry. It's an important principle of human freedom, however fueled it may be in this day and age by the paranoia and derangement of a social fringe. The left focuses obsessively on the Second Amendment's language about maintaining a militia...


text:
Жан-Батист Маду (; 3 февраля 1796, Брюссель — 31 марта 1877, там же) — бельгийский живописец, ученик Бриса и Ж. Франсуа в Брюссельской академии художеств.

Начал работать как литограф и издал несколько альбомов с рисунками, исполненными им на камне. В первых из них, вышедших в свет в 1825-1827 годах («Живописные виды Бельгии», 202 листа, «Жизнь Наполеона», 144 листа, «Бельгийские и нидерландские костюмы, старинные и новые») карандаш Маду ещё робок, но уже несёт печать его индивидуальности, зато в последующих литографических работах, изданных в Париже и изображающих различные народные сцены и жизнь европейского общества от Людовика IX до времени жизни Маду, он является художником, вполне овладевшим всеми тонкостями искусства. В числе этих изданий особенно отличаются «Сцены из жизни живописцев фламандской и голландской школы» (1840), ряд жанровых композиций на сюжеты, заимствованные из истории, отчасти анекдотической, нидерландского искусства. Оригиналы этих композиций были дополнены акварелью, в которой Маду был настоящим мастером. Писать масляными красками Маду начал с 1839 года.

Его многочисленные картины, исполненные как водяными, так и масляными красками, изображают преимущественно быт простого народа, буржуазии и высших классов общества в Бельгии в XVIII столетии. В них художник показал много знаний и воображения, но как колорист он не достигал до того блеска и свежести красок, какими были в последующем бельгийские живописцы конца XIX века, а фактура его письма, старательная и тонкая, не имеет смелости и ширины, столь ценимых последующим искусством. При всём этом за картинами Маду навсегда сохранится значение истинно художественных произведений.

Акварели Маду очень ценились, но составляли при жизни художника большую редкость, потому что он их никогда и никому не продавал. Рассеялись они по публичным и частным собраниям только после их распродажи, происходившей после его кончины. Маду был членом Бельгийской академии.

Литература
 F. Stappaerts, «Notice sur Jean-Baptiste Madou» (в «Annuaire de l'Académie royale de Belgique» за 1879 год).

Художники Бельгии
Похороненные на кладбище Сен-Жосс-тен-Ноде

redpajama_set_name: RedPajamaWikipedia


Now it's my turn to offer a special prize package. Dana offered one a few weeks ago and I'm offering a set of the UK editions INSIDE OUT and OUTSIDE IN books along with a custom designed necklace and earrings set that match the books (made by me - see picture below :) In order to enter to win this prize, please LIKE Dana's and my Facebook pages by May 7th at midnight EST and leave a comment here that you did (also leave an email addy so I can contact you). If you already liked me (or us), you're still eligible to enter. This is open internationally!
SCENT OF MAGIC COVER ART!
And I'll be offering another prize package in the upcoming weeks! I'm also going to post an interview with Dana to find out why she went from writing romantic suspense/intrigue to epic fantasy!
I finished SCENT OF MAGIC last night, or rather early this morning!! Wrote my two fav words THE and END ;> Of course, it's not done done - just a messy first draft that will need many rounds of revisions, starting tonight.
I figured out a few stats for a comment on my Goodread's page, so I thought I'd share. As I write, I keep track of how many words I finish each night. I'm a slow writer - and I guessed I average about 1200 words a night - the most in one night for SCENT OF MAGIC was 2664 (Apr 3) and the least was 451 (Jan 18).
I picked the names for the SPIRITED contest. CONGRATS to the following 4 winners!!
Thanks to ALL for posting my links on your social media sites and blogs. That is one of the BEST ways to help an author (spreading the word about me and my books).
No - I'm not talking about exercising the creative muscle :) I'm talking about how I feel prior to doing either one! Before I start writing, I procrastinate, find a million other things to do, and generally drag my feet, putting if off as long as possible. That's the same with exercise, I'll think of a hundred reasons why I don't have time and/or energy and then I'll talk myself back into it a hundred times.
I'm sure I'm not alone in this regard. Anyone else a slow starter?


A 4 x 6 Inch print of the original drawing. This view of the Caras Park Bridge in Missoula Montana was the most striking piece of architecture that I could find for my class project. The lighting shining through and under the bridge and the railing on top disappearing with the rest of it into the distance was striking to me. We were required to find something with two vanishing points for a project on perspective, and drawing buildings is not really my thing. I found the bridge and knew this would be perfect for my project. It's super dynamic angles make it a strikingly beautiful piece.


RCW 77.12.039: Acceptance of funds or property for damage claims or conservation of fish, shellfish, and wildlife resources.
Acceptance of funds or property for damage claims or conservation of fish, shellfish, and wildlife resources.
The director may accept money or real property from persons under conditions requiring the use of the property or money for the protection, rehabilitation, preservation, or conservation of the state wildlife, fish, and shellfish resources, or in settlement of claims for damages to wildlife, fish, and shellfish resources. The director shall only accept real property useful for the protection, rehabilitation, preservation, or conservation of fish, shellfish, and wildlife resources.


Last month, the tragic passing of Lil Peep shocked the music community, with fans and industry peers alike taking to social media to share their condolences.
The rapper, who died of an accidental drug overdose, released his debut album, Come Over When You're Sober Pt. 1, back in August 2017, with one of his close collaborators now hinting that some of the music the 21-year-old hadn't yet released may see the light of day.
Taking to Twitter, Peep's producer Smokeasac, shared that the two have unreleased music together, later going on to hint that the project would be called, Come Over When You're Sober Pt. 2.
"It will come out when the time is right," Smokeasac added. "When peeps family approves. just know it exists. be patient for Gus. #lilpeepforever."
In addition to new material with Smokeasac, who previously produced Peep's "Awful Things," "Hellboy" and "Benz Truck," the late rapper also had been working on a joint project with ILoveMakonnen. At the time of this report, it has yet to be announced if and when the latter will be released.
Earlier this month, Lil Peep's family held a publicly streamed memorial service, during which his mother, grandmother and others shared powerful, emotional speeches about his life and the legacy he left behind.
See Smokeasac's tweets commenting on a posthumous album featuring Lil Peep's unreleased music below.
me and peep aren't done yet.
il gonna carry on his legacy until the end of my time.


text:
Q: How to get a name of enclosing type in static context? Say you have:
class Foo
{
   static string f = nameof(Foo);
}

This works but I don't like having explicit type name in nameof. In instance context I could use this.GetType().Name, but how to get the type name in static context (without explicitly referring to type as above)?

A: Try this:
class Foo
{
    static string f = System.Reflection.MethodBase.GetCurrentMethod().DeclaringType.Name;
}

redpajama_set_name: RedPajamaStackExchange


text:
using System;
using FluentAssertions;
using NUnit.Framework;
using ShoppingList.Application.Common;
using ShoppingList.Application.DatabaseModel;

// ReSharper disable ObjectCreationAsStatement

namespace ShoppingList.Tests.Unit.Entities
{
    [TestFixture]
    public class ShoppingItemValidationTests
    {
        [Test]
        public void ValidatingShoppingItemShouldNotFailWithCorrectParameters()
        {
            var item = new ShoppingItem { Id = 0, ItemId = 2, ShoppingEventId = 3, Quantity = 0, IsPurchased = false };

            Action action = () => new ShoppingItem(item);

            action.ShouldNotThrow();
        }

        [Test]
        public void ValidatingShoppingItemShouldFailWithIncorrectParameters()
        {
            var item = new ShoppingItem { Id = 0, ItemId = 0, ShoppingEventId = 3, Quantity = 0, IsPurchased = false };

            Action action = () => new ShoppingItem(item);

            action.ShouldThrow<VerificationFailedException>().WithMessage("One or more validations have failed.");
        }
    }
}

redpajama_set_name: RedPajamaGithub


During the second quarter of 2013 WoodStock Electronics Nigeria Ltd (WSE) started a conversation with us about building capacity for a service led eCommerce start-up; an audio-visual and IT distribution company called Tradecounter.ng. Operationally it would leverage WSE's existing technical and service capability. The service will be targeted at an audience of registered dealers, corporate, institutional and individual users across West Africa – primarily Nigeria and Ghana.
By third quarter 2013, we began working with the small team at Tradecounter.ng to map out a 'path to purchase journey' for its West Africa market place. We collaborated on, mocked up and tested a 'path to purchase journey' in order to define the project's experiential, service delivery and business model.
Our colleagues at Tradecounter.ng provided us with responses regarding a path to purchase-journey map we created. We transitioned to a path to purchase experience, from the map. Consequently we kept interrogating key service drivers that determine what perceived value means for dealers, identity verification issues, dealer trainees, in-house product range management, logistics of distribution across West Africa and relationships with an international supply chain. We also used this as an ongoing opportunity to exchange know-how on how to manage the site from a service delivery perspective. This project stalled for a year due to structural issues on the ground. We picked up speed in 2015.
Once we were aligned on the service and business goals of the platform, we performed an audit relative to local competitors' sites and international benchmarks. Through a user experience audit of bench-mark sites, we established a feature and functionality matrix that aligned with a defined content hierarchy, product categorisation and service information architecture.
We placed an emphasis on developing a service experience design direction, first. Setting a design language informed by qualities from a minimum viable digital style guide we had created to support a holding online space. It was designed for adaptation to any interactive touch-point. It was also important that we had initially defined a digital Identity guide that would feel coherent in the minds of customers, when adapted across multiple media formats.
At the time we had just created a digital Identity guide to explore various options that can be used to showcase and prototype a service oriented on-line presence. The outcome was a minimum viable design language referencing typography and minimalist design, to humanise a service driven audio-visual and IT systems business.
We sought to support goals of making the site transactional in a way that is set up for Tradecounter.ng to integrate product photography, specifications and stories sourced from supplier brands smoothly; a functional aesthetic. We paired this functional aesthetic, for example, with interactive design whilst streamlining the user flow to make product accessible, promote training services and make accessible an industry events calender.
Secondly, we determined that we would build the site within a responsive framework to accommodate new devices and a variety of form factors. To be creative we drew on multi-disciplinary skills and perspectives which involved several Skype improvisation sessions. These sessions were underpinned by ideas-exchange spanning London, Lahore, Lagos and usability testing protocols by 'User-Testing' in the US.
We paid attention to components of the platform's eCommerce structure and smooth transaction drivers. An example is a product tile layout is set out for a mouse track or finger swipe down each page's entirety. These allows registered users to view available product options, see discounted or product/s on sale and add the product/s to their cart as they become more educated on its features and benefits. We were in re-iteration mode within reason, in order to respond to issues we could not be certain about until we stress tested the product live. For example we used open source applications to develop and test micro-features such as shipping protocols to suit the character of the operating environment, on the fly.
The platform continues to be at beta phase with ongoing marketing investment and in-house development work at Tradecounter Nigeria Ltd, in response to customer reaction.
Project Team: UX Research & Design - Ayodeji Alaka, UX Mapping and Documentation - Adam Benjamin, Backend Development and Training - Yumna Tatheer, Digital Product Designer - Phil Smith, Design Review - Angela Lyons, Insights into customer and dealer community behaviour - Collaboration with In-house team at Tradecounter Nigeria Ltd.


Here is a business opportunity knocking at your door. Two buildings one has been a kitchen/dinning hall and recreation center while the other has been a dorm/boarding room general living area. Many upgrades to electrical and interior come and check them out. Own part of the history of commercial fishing on Cook Inlet and fish packing here on the Kenai River.


text:
Bjelovješki sporazum (ruski: Беловежские соглашения, bjeloruski: Белавежскае пагадненне, ukrajinski: Біловезькі угоди) jesu međunarodni sporazumi kojima je službeno proglašeno raspuštanje Saveza Sovjetskih Socijalističkih Republika te uspostavljanje Zajednica neovisnih država na njegovo mjesto, kao nasljednički entitet. Sporazumi su potpisani 8. prosinca 1991., u Dači pokraj grada Viskulija, u Bjelovješkoj šumi u Bjelorusiji. Sporazum su potpisali politički vođe triju od četiri republike osnivačice Sporazuma o stvaranju SSSR-a iz 1922. godine. Ti predstavnici su:

 Boris Jeljcin u svojstvu predsjednika Rusije i Genadij Burbilis u svojstvu zamjenika premijera Rusije
 Leonid Kravčuk u svojstvu predsjednika Ukrajine i Vitold Fokin u svojstvu premijera Ukrajine
 Predsjednik parlamenta Bjelorusije Stanislav Šuškevič i premijer Bjelorusije Vjačeslav Kebič

Posljedice
Dana 12. prosinca 1991. Vrhovni savjet Saveza Sovjetskih Socijalističkih Republika službeno je ratificirao dokument. Dana 21. prosinca osam preostalih sovjetskih republika pristupilo je Zajednici neovisnih država, potpisujući Alma-Atsku deklaraciju. Tri baltičke države koje su težile pristupanju Europskoj Uniji, kao i Gruzija, odbile su pristupiti ZND-u. Izvornici dokumenata od 2013. godine smatraju se nestalima, prema objavi izvršnoga odbora ZND-a sa sjedištem u Minsku, u kojemu su se do tada čuvali dokumenti.

Bilješke
 U hrvatskom jeziku prisutni su i oblici bjeloveški i beloveški.

Izvori

Dekomunizacija
Povijest Rusije
Povijest Ukrajine
Povijest Bjelorusije
Međunarodni ugovori
Raspad SSSR-a


text:
1Structure
2Types
Inflatable building
Find sources: "Inflatable building" – news · newspapers · books · scholar · JSTOR (October 2012) (Learn how and when to remove this template message)
The Spirit of Dubai inflatable building
An inflatable building is a structure constructed using two layers of membrane connected together, typically using spars made from the same material. The cavity formed between the layers is pressurized with air producing a rigid structural element which allows large span structures to be achieved. The key difference between air-supported buildings and inflatable buildings is that air-supported buildings require airlocks at all the access points to prevent air being lost when doors are opened since the entire occupied space of the building is pressurized. Inflatable buildings like this commonly serve sports, such as tennis and indoor golf.[1]
Structure[edit]
Interior of an inflatable structure with the pressurized supports visible along the walls and ceiling
An inflatable building only requires pressurized air within the cavities of the walls and so does not require airlocks since the occupied interior of the building is at normal atmospheric pressure.
The air contained within the walls of an inflatable building becomes a true structural part of the building. The membranes used in the construction of such buildings are typically less than 1mm thick, so the amount of membrane used compared to the volume of air contained within the walls is incredibly low (typically less than 0.5%). This makes inflatable buildings efficient in terms of the amount of raw materials required to construct them.
The small amount of material used in the construction of inflatable buildings makes them highly portable. When a building needs to be moved, the air can simply be allowed to escape enabling an entire building to be packed into a small volume compared to its inflated size. The building can then be transported easily to its new location and re-inflated.
Inflatable structures and inflatable buildings are used in many ways including membrane roofs and covers, sails, buildings and pavilions, airships, furniture, airspace structures, boats, escape slides, security mattresses, swimming pools, coverings, games and castles, air bags and many other applications. Examples include an inflatable church and an inflatable pub.[2][3][4]
List of inflatable manufactured goods
^ "Cost-Effective Inflatable Dome Buildings | Edge Innovations". Edge Innovations, Inc. Retrieved 2022-05-12.
^ "Blow-up church goes on show". BBC News Online. 13 May 2003. Archived from the original on 8 June 2004. Retrieved 27 July 2015.
^ Percival, Jenny (14 August 2008). "Inflatable church brings God to Italian beachgoers". The Guardian. London. Retrieved 27 July 2015.
^ "Own Your Own Pub – Ireland's Inflatable Pub Company". lovebelfast.co.uk/. 16 January 2015. Retrieved 27 July 2015.
Media related to Inflatable buildings at Wikimedia Commons
Retrieved from "https://en.wikipedia.org/w/index.php?title=Inflatable_building&oldid=1135062803"
Buildings and structures by type
Inflatable manufactured goods
Portable buildings and shelters
Articles needing additional references from October 2012
Commons category link is locally defined

redpajama_set_name: RedPajamaCommonCrawl


text:
Louis-Nicolas CLÉRAMBAULT (1676 - 1749): "Livre d'orgue / Miserere"
Jean Boyer, organa
Les Demoiselles de Saint-Cyr/Emmanuel Mandrin, organb
rec: 1993, Saint-Michel-en-Thiérache, Abbaye
Tempéraments - TEM 316044 (R) (© 2014) (68'32")
Liner-notes: E/F
Miserere mei Deus à 3 voixb; Suite du premier tona; Suite du deuxième tona
Every music lover knows the Ospedale della Pietà in Venice where Antonio Vivaldi was active as a music teacher. This was an institution for orphan girls, although it also admitted girls whose parents were too poor to care for them. Here they received an education, and music was an important part of it. There were various such instritutions in Venice, and also in other countries. One of these was the Maison Royale St-Louis de Saint-Cyr - a village west of Versailles - which opened in 1686 and was designed to educate daughters of impoverished army officers and noblemen. Here Louis-Nicolas Clérambault became organist and maître de musique in March 1715. In this post he succeeded Guillaume-Gabriel Nivers who had died the previous year. The latter was also organist of the church of Saint Sulpice in Paris, and Clérambault succeeded him in this position as well. He had been Nivers' assistant in both positions for some years.
Clérambault was born in 1676 in Paris in a musical family whose members had served the kings of France since the 15th century. His father Dominique was a violinist and a member of the 24 violons du roi. Louis-Nicolas probably received his first music lessons from him. His organ teacher was André Raison to whom he dedicated his Livre d'orgue. His oeuvre is not very sizeable, but of consistently high quality. He was a major contributor to the genre of the chamber cantata which became popular in the early decades of the 18th century under the influence of the Italian style. Five books of such cantatas were published between 1710 and 1726. Het also wrote a small number of chamber music works, but the largest part of his oeuvre comprises music for liturgical purposes: the book with two suites for organ and motets and other sacred vocal works. It is likely that these were mostly written for Saint-Cyr.
In 1733 he published two volumes of Chants et Motets à l'usage de l'Eglise et Communauté des Dames de la Royale Maison de Saint-Louis à Saint-Cyr. The motets belong to the genre of the petit motet, scored for a small number of solo voices and basso continuo, sometimes with additional treble parts for violins or other instruments. In this collection the motets are scored for three solo voices - two sopranos and mezzo-soprano - and basso continuo. The choir is a petit choeur, more or less comparable with the ripienists in German sacred music. As these collections were designed exclusively for the girls of Saint-Cyr they omit the basso continuo part. However, the library of the Versailles palace includes a manuscript and from this and some other sources the missing bass part can be taken. This allows the performance of the Miserere on this disc. It is a part of Clérambault's oeuvre which is hardly explored as yet which is surprising if the quality of this piece is an indication of the quality of his entire output in this genre. The opening is telling: the very first word, "miserere", is set to a strong dissonant. The whole setting of this penitential psalm reveals Clérambault's responsiveness to the text.
The two organ suites are much better known, and are part of the standard repertoire of French organ music under the Ancien Régime. These are often performed independently - and that is certainly a legitimate option - but are in fact intended for the alternatim practice. That is how they are performed here. The liner-notes state: "The book was conceived to alternate either with pieces of the Ordinary of the Mass or with the Magnificat." For the first suite the latter has been chosen. However, there is a slight problem in that the number of organ verses exceeds the number needed for the Magnificat: seven instead of six. This problem has been solved by playing the surplus movement - the fugue between plein jeu and duo - at the end as an instrumental reprise of the opening antiphon. For the second suite another canticle was selected, the slightly longer Benedictus which fits Clérambault's suite perfectly.
Obviously Clérambault wanted his organ book to sell well. To that end he added a postscript in which he stated that he had composed his suites in such a way that they could be played on a large organ but also on a cabinet organ with divided manuals. The latter means that the descant and the bass can be registered differently, a feature of many Spanish and Italian organs with only one manual. He also suggested that if there were notes in the left hand which were too low they could be played an octave higher. It is not quite clear whether here two different organs are used. The booklet says that in the first suite the canticles are sung at the gallery with the large organ whereas in the second suite the vocal verses are performed with the "orgue positif Westenfelder". The latter restored the large organ in the 1990s. However, the booklet includes a specification of that organ, built by Jean Boizard in 1714, but has no information about a positive organ by Westerfelder. On the internet I could not find any information about the presence of a smaller organ in the abbey. Maybe the term "orgue positif" refers to the positif of the large organ.
This disc is a compilation of two recordings with music by Clérambault and seems to have been reissued to commemorate the death of the organist Jean Boyer in 2004. This probably explains that the liner-notes only give information about the two organ suites but nothing about the Miserere. It is also not mentioned that the basso continuo is not played by Boyer but by the ensemble's director, Emmanuel Mandrin. The production should have been more careful in this respect.
But the main thing is that the performances are of superior quality. Jean Boyer was a brilliant organist whose performances are not well represented on disc. He played a major role in the promotion and the interpretation of French classical organ music. This disc is a most welcome monument of his art. The Miserere is a fine work which is given an excellent interpretation by Les Demoiselles de Saint-Cyr. I strongly recommend this disc and urge anyone who likes this kind of music to search for the original recordings by this ensemble which were first released by the deceased label Fnac.


text:
Krasny Vyselok () is a rural locality (a settlement) in Chernyansky District, Belgorod Oblast, Russia. The population was 50 as of 2010. There is 1 street.

Geography
Krasny Vyselok is located 7 km northwest of Chernyanka (the district's administrative centre) by road. Krasny Ostrov is the nearest rural locality.

References

Rural localities in Chernyansky District


File::Which finds the full or relative paths to executable programs on the system. This is normally the function of which utility. which is typically implemented as either a program or a built in shell command. On some platforms, such as Microsoft Windows it is not provided as part of the core operating system. This module provides a consistent API to this functionality regardless of the underlying platform.
The focus of this module is correctness and portability. As a consequence platforms where the current directory is implicitly part of the search path such as Microsoft Windows will find executables in the current directory, whereas on platforms such as UNIX where this is not the case executables in the current directory will only be found if the current directory is explicitly added to the path.
If you need a portable which on the command line in an environment that does not provide it, install App::pwhich which provides a command line interface to this API.
There should not be any surprises here. The current directory will not be searched unless it is explicitly added to the path.
Cygwin provides a Unix-like environment for Microsoft Windows users. In most ways it works like other Unix and Unix-like environments, but in a few key aspects it works like Windows. As with other Unix environments, the current directory is not included in the search unless it is explicitly included in the search path. Like on Windows, files with .EXE or <.BAT> extensions will be discovered even if they are not part of the query. .COM or extensions specified using the PATHEXT environment variable will NOT be discovered without the fully qualified name, however.
As of 2015 none of these platforms are tested frequently (or perhaps ever), but the current maintainer is determined not to intentionally remove support for older operating systems.
As of 2015 the current maintainer does not test on VMS, and is in fact not certain it has ever been tested on VMS. If this platform is important to you and you can help me verify and or support it on that platform please contact me.
Same as "which" in array context. Same as the where utility, will return an array containing all the path names matching $short_exe_name.
This module has no non-core requirements for Perl 5.6.2 and better.
This module is fully supported back to Perl 5.8.1. It may work on 5.8.0. It should work on Perl 5.6.x and I may even test on 5.6.2. I will accept patches to maintain compatibility for such older Perls, but you may need to fix it on 5.6.x / 5.8.0 and send me a patch.
Not tested on VMS although there is platform specific code for those. Anyone who haves a second would be very kind to send me a report of how it went.
Command line interface to this module.
Comes with a can_run function with slightly different semantics that the traditional UNIX where. It will find executables in the current directory, even though the current directory is not searched for by default on Unix.
This module purports to "check that a command is available", but does not provide any documentation on how you might use it.
This software is copyright (c) 2002 by Per Einar Ellefsen <pereinar@cpan.org>.


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Tyson Fury free to resume boxing career after doping ban back-dated
Simon RiceTuesday 12 Dec 2017 3:53 pm
Tyson Fury could soon be back in the ring (Getty)
Tyson Fury appears on the verge of returning to boxing after the heavyweight reached an agreement with UK Anti-Doping (UKAD) over doping violations.
The former world champion has accepted a back-dated two-year doping ban for using a banned steroid.
He was initially charged in June 2016 and always maintained he tested positive because he ate uncastrated wild boar.
Because he last fought in November 2015 – when he stripped Wladimir Klitschko of his belts – it means he is free to resume boxing once he regains his boxing licence.
UKAD say the British Boxing Board of Control, which manages boxing licenses, has agreed to the outcome.
(Picture: Twitter)
A statement from the board read: 'His licence is suspended with the Board but we will take into consideration what has happened [with the UKAD hearing]. We will consider the next step and let Mr. Fury know.'
Speculation will now mount about who Fury could face in the ring, with a showdown with Antony Joshua widely hoped for. Tony Bellew has also spoken of his desire to face the so-called Gypsy King.
The heavyweight's cousin Hughie Fury has also come to the same agreement with UKAD, but neither his or Tyson's results after February 2015 will be struck off.
UKAD Statement In Full
UKAD, Tyson Fury and Hughie Fury have agreed to resolve the proceedings brought by UKAD (1) against Tyson Fury and Hughie Fury based on the reported presence of elevated levels of nandrolone metabolites in urine samples that they provided after their respective fights in February 2015; and (2) against Tyson Fury based on his alleged failure to provide a sample in September 2016.
UKAD's position is that the anti-doping rule violations it has asserted have been committed and the consequences set out in the UK Anti-Doping Rules should apply. Tyson and Hughie Fury's position is that they have never knowingly or deliberately committed any anti-doping rule violation. In recognition of the respective counter-arguments and the risks inherent in the dispute resolution process, each side has accepted a compromise of its position.
The proceedings have therefore been resolved on the following basis: the anti-doping rule violations based on the reported presence of elevated levels of nandrolone metabolites are upheld, the refusal charge is withdrawn, Hughie and Tyson Fury each receive a two-year period of ineligibility, and their results from their respective fights in February 2015 are disqualified. Taking into account that no adverse analytical findings or adverse passport findings were reported in respect of any of the urine and/or blood samples collected from either boxer after February 2015 (including from Tyson Fury on 11 May 2015, 16 July 2015, 8 October 2015, 17 October 2015, 11 November 2015, 13 July 2016, and 4 May 2017; and from Hughie Fury on 11 May 2015, 25 July 2015, 8 October 2015, 17 October 2015, 14 November 2015, 18 July 2016, 29 September 2016, 18 February 2017, 19 April 2017, 8 August 2017, 29 August 2017, and 23 September 2017), their competition results after February 2015 are not disqualified. Taking into account the delays in results management that meant charges were not brought in respect of the nandrolone findings until June 2016, and the provisional suspensions that Tyson and Hughie Fury have already effectively served, the two year period of ineligibility is backdated to 13 December 2015, and therefore expires at midnight on 12 December 2017
The British Boxing Board of Control has also agreed to the resolution of these proceedings on this basis.
MORE: Kell Brook to fight Sergey Rabchenko on March 3 in super-welterweight debut
Tyson Fury teases he could fight David Haye next in long-awaited showdown
Chloe Ferry 'quits' Geordie Shore to support boyfriend Sam Gowland after he was suspended
Frank Warren on why Stan Kroenke is killing Arsenal and avoiding Billy Joe Saunders' calls
Mike Tyson tells Anthony Joshua to get his mind right before Andy Ruiz Jr rematch
Boxing legend Pernell 'Sweet Pea' Whitaker dies aged 55
Deontay Wilder warns Anthony Joshua over Andy Ruiz Jr rematch
David Haye laughs off Tyson Fury's invite to make comeback against him
Daniel Dubois beats Nathan Gorman with crushing fifth-round KO
Home › Sport › Boxing


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Many Pictures from WC Whistler
January 29, 2016 by Katrina·0 Comments
I spent all last week in Whistler volunteering at the IBSF World Cup races as an official. There were three days of official training, and five races (W-skele, M-skele, W-bob and 2M-bob (x2)) over two days. It was really tiring (I spent 48 hours at the track in five days!) but it was also really fun and cool.
I did a lot of temperature taking, runner wiping, sled marshalling, bobsleigh weighing, icebox timing, scabbard heaving, and many more behind-the-scenes tasks. In between I got to watch a lot of the action and hang out with friends. No cheering though! Officials are neutral.
Me and Martins Dukurs! The Usain Bolt of skeleton. He has won 6 out of 6 of the races so far this year, and is on track to win his 7th World Cup title in a row. He has something like 50 World Cup gold medals in his trophy collection. Basically he is my (and everyone else's) hero.
Women's skeleton! I got to do one of the pre-race jobs so that during the race I could actually watch. I started up top, so I could watch one of Jane Channell's famous extra speedy starts, and then slowly walked down to the bottom watching a person or two go by at every corner. Normally the whole track isn't open like that so it was cool to watch people's lines through some of the upper corners.
I watched the last bit at the bottom right beside the finish line where (some) girls were smashing into the wall extremely hard (like me).
Tina Hermann smashed the hardest and she won… so I guess it is a "good" line. Jane came 4th, after setting a new start record.
Men's skeleton! Again, I finished up my tasks early so I could watch the race. Scott, Rosemarie and Liz came up to meet me too. It was SO COOL seeing all the ultra fast guys run. Some of them can run soooo far!!
Martins hadn't had much luck in Whistler in the past, he lost the last World Cup in 2012 to a German, and lost the Olympics in 2010 to Jon Montgomery. All through training he hadn't really been doing that well, so I actually started to doubt whether he could keep up his gold streak.
Buuuut… that was foolish, because as usual he blew everyone away. He even set a new track record on his first run. His brother Tomass set a new new one in his second run, but Martins still had enough of a lead to stay in first. Good day for the Dukurs family!
Jon Montgomery was there, watching. He held the track record since the Olympics until that day! Nice guy. I asked him if it was weird for him to be there not as an athlete and he said it was just nice to not have to deal with the pressure.
Sunset view on a mini break to the icebar and VIP tent with the volunteer crew. So pretty. So needed at that point. Rosemarie and Liz got to go in too since they did some volunteering for guest services too. :)
The bobsleigh races were hella exciting. Super duper close races, track records galore, crashes, the atmosphere up top, holy moly it was awesome. I was "working" but still managed to somewhat follow what was going on.
Photo by Charlie Booker.
Scott, Rosemarie and Liz had a blast cheering and hanging out at the finish with the bobsleigh guys. They all had raspy voices from screaming so much. GO GO GO GO GO! That's Chris Spring and Lascelles Brown (who Scott is hugging hahahaha) who won gold for Canada!
Then afterwards Scott and I went out to the Longhorn for the afterparty with all the other officials (and a lot of the athletes). Scott talked to a lot of them. I am too shy. He got an awesome terrible picture with Martins where Scott looks like this :D and Martins looks like this >:( hahaha. Fun times.
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Investors in Carnival (NYSE: CCL) (NYSE: CUK) may be reaching for the Dramamine after a poorly received financial report. Shares of the world's leading cruise line operator opened sharply lower on Tuesday after the company posted mixed results for its fiscal first quarter.
Revenue rose 10.4% to hit $4.673 billion during the seasonally slow three months ending in February. Carnival hasn't historically been a speedy grower, but it has now come through with double-digit increases on the top line in three of the past five quarters. However, most of the revenue burst came from the effect of the adoption of new accounting guidance that padded the quarter's results by $323 million. Passenger ticketing revenue -- a line item that accounts for the lion's share of Carnival's results -- rose a modest 1.6% for the period.
Pacific Jewel ship sailing on the ocean.
Gross revenue yields -- a key gauge for measuring a cruise line's health that basically tracks the revenue per available lower-berth day -- rose 5.8%. Net revenue yields adjusted for currency fluctuations rose 0.5%, just above the flat results that Carnival was targeting on that basis three months ago. Carnival has routinely landed ahead of its guidance on that front.
Things aren't as kind on the bottom line at first glance. Adjusted net income -- essentially backing out the volatility of unrealized gains and losses on fuel derivatives and other net charges -- declined nearly 10% to $338 million, or $0.49 a share. Pesky fuel costs ate into Carnival's margins as gross cruise costs per available lower-berth day (including fuel) rose a stubborn 8.6% for the quarter. The silver lining of the otherwise rough bottom-line showing is that Carnival's own guidance was calling for adjusted earnings per share of $0.40 to $0.44 for the fiscal first quarter.
Double-digit reported revenue growth and better-than-modeled adjusted earnings may not seem like the ingredients in a sell-off stew, but we haven't addressed Carnival's outlook. The cruise line operator sees flat net revenue yields on a constant-currency basis. It sees the changes in fuel prices and swings in foreign-exchange rates decreasing bottom-line results by $0.08 for the current quarter. And it sees adjusted EPS clocking in between $0.56 and $0.60, well below the $0.68 it delivered a year earlier.
Carnival is also lowering its full-year forecast for adjusted earnings. It is now bracing investors for an adjusted profit per share of $4.35 to $4.55, less than the $4.50 to $4.80 it was projecting back in December. In short, the headwinds from currency turns and rising fuel costs are expected to continue beyond the current quarter. The revised guidance looks even worse when you consider that Carnival beat its fiscal first-quarter forecast by $0.05 to $0.09 a share.
Bookings remain solid, and Carnival is sticking to its earlier revenue guidance. But the weakening picture at the other end of the income statement is naturally going to be problematic. There's never a dull day on the open seas.
Rick Munarriz has no position in any of the stocks mentioned. The Motley Fool recommends Carnival. The Motley Fool has a disclosure policy.


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5 Memoirs from the #IAmAnImmigrant Campaign
Ines Bellina Jun 30, 2017
This content contains affiliate links. When you buy through these links, we may earn an affiliate commission.
June is Immigrant Heritage Month, an initiative meant to celebrate the contributions that immigrants make to the United States. As part of its efforts, the #IAmAnImmigrant campaign launched last year to give voice and visibility to the community and shift perceptions about who immigrants are and what they do. At a time when they've been scapegoated for pretty much every societal ill and hours away from yet another Muslim ban being enacted, this campaign is a reminder of how the United States is a thriving, cultural, exciting wonderland thanks to their presence and not despite of it. Gorgeous snapshots of artists, musicians, officials, and regular folks are accompanied by a brief description of their accomplishments, capturing their presence in the US as one of joy. Of course, among these glams pics, you can find those of authors. The month is ending, but there is still time to pick up one of their books and learn more about the immigrant experience or take pride in your own immigrant story. Here is a small sample of amazing memoirs from writers who participated in this important campaign:
To the Stars: The Autobiography of George Takei, Star Trek's Mr. Sulu by George Takei: Star Trek legend and social media viral sensation, Takei has become a living legend. In his autobiography, he relays details of his childhood in a Japanese-American interment camp during World War II and his rise to fame.
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Brother, I'm Dying by Edwidge Danticat: Danticat's memoir focuses on two of the most important men in her life: her father, who immigrated to the United States in search of a better life and her Uncle Joseph, who raised her in Haiti until she was reunited with her family at the age of 12. Both figures are used as a way to explore issues of exile, immigration policy and the way political and historic forces can tear families apart.
Not My Father's Son: A Memoir by Alan Cummings: The dashing and wry Alan Cummings had a devastating childhood of abuse and violence. His book holds at its center a family mystery that Cummings wishes to solve when he participates in a popular genealogy TV show back in the UK. What he gets instead is far more than expected and turns our ideas of identity and family obligations upside down.
I'm the One that I Want by Margaret Cho: The daughter of Korean immigrants, Cho describes the struggles she faces as an Asian-American woman trying to make it in Hollywood. Adapted from her comedy special, Cho tells of her own battles with substance abuse, weight and the loss of her own sitcom.
No Land's Man by Aasif Mandvi: Daily Show correspondent Aasif Mandvi gives us hilarious snippets of immigrant life, as we journey through his childhood and adulthood that took him from India to England to the US. His anecdotes of culture clash and adaptation show how complex forming one's own cultural identity can be.


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Boom Irrigation Systems
One key to successful plug and cell pack production is uniform watering. This cannot be achieved with hand watering or conventional overhead irrigation using nozzles with a circular pattern. Advances in boom irrigation technology give you a production tool that can be applied to your existing greenhouses or to new construction.
A boom system consists of one or more pipes containing nozzles that apply water as the system moves over the plants. It may be suspended from an overhead rail system or from a cart that moves down the aisle. Water is supplied by a trailing hose and powered by a battery pack or electric supply cable.
Do-It-Yourself Systems
The simplest systems are grower-built. The first one in Connecticut was built by a tobacco grower producing seedlings in cell trays. It used a lawnmower frame with a folding, double boom supported above the plants. The cart was guided down the center aisle by an arm riding on a pipe attached to the floor.
The cart was moved by an electric winch mounted on the cart. In operation, the winch cable was unwound and attached to a hook at the opposite endwall. When activated, the winch pulled the cart at an even speed from one end of the greenhouse to the other. A micro switch stopped the cart when it reached the far end.
One advantage was that the cart could be easily moved between greenhouses. With the double boom, the first set of nozzles wet the surface with about one-third the required water, and the second set with larger nozzles gave a heavier application.
Hand-pulled boom systems, consisting of a boom supported by a frame and a trailing hose, have been developed by several growers. These can be mounted to an overhead conveyor track system or supported on the ground with bicycle wheels. Although operation is not as uniform as with a power unit, the savings in time and the more uniform watering offer some advantages.
Commercial Booms
The least expensive commercial units cost about $3,000(09). They can be adapted to most free-standing and gutter-connected greenhouses. Boom widths to 70 feet are available. Bench or bed lengths to 400 feet can be watered with one setting. Some systems allow the boom to be moved from one bay or greenhouse to another.
The commercial systems depend on a single or double rail attached to the greenhouse frame to support and guide the boom over the plants. Although most systems weight less than 200 pounds, adequate support must be provided for the system and the trailing hose.
A fixed or variable-speed gear motor is commonly used to power the boom. Manufacturers use fractional-horsepower DC motors to allow varying speed of travel. Speeds of 25 to 250 feet per minute are available, allowing a light mist or a thorough watering.
Stainless-steel fan or cone-spray nozzles are used to give good coverage. Usually these are spaced to provide an overlap of the pattern to give uniform application. Height of the nozzles above the plants is a critical dimension to provide that overlap. Additional nozzles may be placed at the ends of the boom to provide extra water for plants near the sidewall or aisles.
Adequate Water Required
As with any automatic watering system, an adequate water supply is necessary. The wide selection of nozzle capacities available allows booms to be designed to fit most water supplies. Generally, 12" to 15" spacing is used with a nozzle capacity of from 0.1 to 0.8 gallons per minute.
Some systems will operate on water pressure as low at 15 psi but generally 40 to 50 is desired to give good uniformity. Clean water, free of particulate matter, is essential to prevent clogging of the nozzles. One or more filters with a 150 to 200 mesh should be placed in the supply line.
Some systems are available with more than one boom. These can be fitted with nozzles with different application rates for misting, feeding, pest control or growth regulator applications.
Methods of Boom Control
Several methods are available to control a boom system. The simplest use a time clock or cycle timer that activates the drive unit at predetermined times. More flexible systems use programmable controllers or microcomputers that allow speed changes, skipping of empty bench areas, selection of boom sections to activate and multiple passes over the same area.
Safety and reliability are addressed in a number of ways. A variety of sensors may be employed to detect bloom obstructions, mechanical problems, low water pressure or power failure.
Boom Advantages
In addition to the greater uniformity of water application, there are other advantages to a boom system. Less water is needed because the system can be operated to provide the optimum amount of water for the crop. Less aisle space is needed for watering.
Because of the large number of options, careful selection of a boom system is required. Factors affecting your selection include type and style of greenhouses, cropping system, water quantity and quality and the amount of automation you desire. You should shop around to find a system that is most economical for your growing needs.
Some boom system suppliers:
Greenhouse Technology Inc., 1111 Squires Ave., Richmond KY 40474
www.greenhousetechnology.com
Solaris, 1615 Puyallup Street, P.O.Box 1690, Sumner WA 98390
https://www.mcconkeyco.com/Pages/Store_Home_2.aspx
Andpro, 272 Church ST W., P.O.Box 399, Waterford Ont. Canada N0E 1Y0
www.agroponic.com
Growing Systems, Inc., 2950 N. Weil St., Milwaukee WI 53212
Phone:414/263-3131
http://www.growingsystemsinc.com/
John W. Bartok, Jr.
Extension Professor Emeritus and Agricultural Engineer
NRME Department, University of Connecticut, Storrs CT 06269-4087


Go mining for a potential jackpot or two!
Yggdrasil have done it again!
Dwarf Mine is a 5 reel slot that is available on all your favourite devices.
Available to play from 10p, or if you're feeling brave the max stake is £125.
You are taken deep into the underground mines to search for treasure!
Landing a bonus symbol on the reels expands the reels by 1 row for that spin.
Reels can be expanded a maximum of 3 times since that is also the maximum amount of Bonus symbols that can appear in 1 spin. The symbols on the extended bottom 3 rows are placed randomly.
Landing 3 bonus symbols awards 10 Free Spins with the 5 x 7 reel set!
Accumulating 5 collectible crystals of the same colour will trigger the Collection Free Spins feature and 5 free spins will be awarded! These only appear in the expanded base game.
Jump behind the digger, golden treasure is waiting to be found!


Here is an interesting blog post on enterpreneurs and VCs. The blogger summarizes out top ten lies which seem to be apprearing every business plans of those startups. The world keeps rolling with all those lies speaking/listening every day, startups getting pitch, VCs getting sudden huge return. Why? That's a game to gamble. The original post are more interesting that the bare list.
You are currently browsing the Telecom, Security and P2P blog archives for the day Tuesday, January 10th, 2006.


The DiMAGE G600 is equipped with an 8 - 24mm GT Hexanon zoom lens (equivalent to 39-117mm on 35mm camera.) This is an all-glass lens with 7 elements in 6 groups and has a maximum aperture of F2.8 (wide) - 4.9 (tele.) When powered down, the lens retracts fully inside the body and is protected by the front, sliding cover.
The focusing system works from 0.5m to infinity in wide angle and from 0.8m to infinity in telephoto. Macro coverage is 6cm (2.4 in.) to infinity in wide angle and 0.5m (1.6 ft.) to infinity in telephoto. The distance can also be manually set at 4m, 2m or 1m.
The real image optical zoom viewfinder is small with a very narrow viewing angle. It shows approximately 85% of the captured image. There is no diopter adjustment. The two LEDs indicate camera, focus and flash status.
The builtin flash is auto-adjusting with modes for Auto flash, Red-eye Reduction Auto, Fill Flash, Slow Sync and Flash Off. The working range: Approx. 0.5 - 3m (Wide); approx. 0.8 - 1.7m (Telephoto). It has a 3 second recycle delay with a fully charged battery.
One of the DiMAGE G600's most unique features is the series of blue LED lamps across the front. When you first turn the camera on they flash momentarily. They also light up when you have the shutter half-pressed and serve as a visual cue to your subject that the picture is about to be taken. When using the selftimer these lamps light up and then cycle as the timer runs down.
The controls are minimal but effective. Across the top is the PLAY mode button, the DISPLAY button (push once to clear LCD overlay information and a second time to turn off the color LCD) and the TRASHCAN button to delete the currently displayed image. On the right are the WIDE and TELE buttons which operate the zoom in Record mode and serve as the magnified image controls when the camera is in Playback mode. Below them is the builtin speaker.
On the bottom is the MENU / SET button, it calls up the menu and accepts selections. The 4-way controller lets you navigate menu screens and options, select images for playback and in Record the "right" side selects the Flash mode and the "left" side selects Macro, Infinity and Selftimer functions.
The DiMAGE G600 has two card slots, one each for SD (or MMC) cards up to 512MB and Sony Memory Sticks (or Memory Stick Pro) up to 256MB. Minolta supplies a 16MB SD card. Both card slots can be occupied simultaneously.
Minolta USA has posted a G600 compatibility chart that lists the tested memory cards. There had been numerous reports of compatibility problems with the predecessor G500 and you'd be well-advised to verify compatibility before investing in memory cards for the G600.
The only I/O connector is a USB 1.1 connection for data downloads to the computer. There is no DC IN or Video Out port on the DiMAGE G600.
Like most "mini" digicams, the DiMAGE G600 is powered by a proprietary lithium-ion rechargeable battery pack. The ultra-slim NP-600 is a 3.7v 860mAh pack with enough power for 160 pictures with LCD on (normal humidity and temperature, flash intensity 50%, shot every 30 sec. zoomed one direction once.) And 180 minutes of continuous playback time.
The NP-600 is the -only- battery that can be used in this camera so be sure to buy a spare and keep it with you -- or else your picture taking is over when the battery runs out! The included BC-600 120-240V AC charger takes over 1 hour to replenish the battery.


text:
Open Science Magazine
Rethink the way of publishing
Rethink the way of managing research data
Rethink the way of connecting research data
The ZBW
What the Open Science movement can learn from the Covid-19 crisis
Interview with Professor Isabella Peters
Isabella Peters is professor of Web Science at the ZBW – Leibniz Information Centre for Economics and at the Department of Computer Science at Kiel University. In her research she studies, among other things, how researchers use social media to disseminate scientific findings. She also advocates the integration of Open Science practices into the scholarly reward system – at the national and the European level.
Many scientists who want to make a contribution to the current fight against the Covid-19 crisis upload(ed) their papers to pre-print servers. Without peer review. To be quick. Is classic peer review unsuited to a crisis situation?
IP: The peer review procedure as it currently works is very slow. Two years can easily pass while reviewers are found, while they actually review the paper, and until the authors submit new versions. This is partly owed to the fact that only a few experts are involved whose calendars are fully booked. In a crisis, however, nobody can wait two years just to have a paper read. Other ways must be found. And one of these ways is the post-publication peer review where results are published first and reviewed later.Thus an exchange with many peers is possible early on. These reviewers and recipients must of course be aware that they are dealing with untested results.
Must we re-examine the definition of who actually may be a "peer" in a peer review?
IP: Normally the journal takes care of choosing experts as reviewers. In theory, everyone can criticise in the case of pre-prints. Feedback from non-experts can enrich the debate and sensitise for new points-of-view. But it can also slow down the whole process because usually the entire context must be laid out. In such cases it would be useful to know who is actually reviewing. I don't need to know names, but knowing the background, profession, discipline and academic degree would be useful to evaluate the comments. This would be useful in a normal peer review, too, by the way.
What could be done in the future to publish research findings quickly and still assess their quality? What could a good mechanism for quality assurance look like?
IP: Research needs time. I think we must say good-bye to the assumption that a paper is finished and must "only" be reviewed. Scientists are in dialogue with others during the entire research process. And the comments, queries and additions of the reviewers are just one more piece of editing which is a natural part of the process. But I think that an ad hoc advisory board could provide a solution, i.e. a group of experts who assemble flexibly depending on who can make time for reviewing as quickly as possible.
Should peer review by an ad hoc advisory board be public?
IP: I am a great fan of public reviews. It renders the communication process within science transparent. It is possible to see the themes and questions where researchers differ with each other and how they argue. A public review can also contribute to an outcome where professional competition, personal aversions or loyalties do not influence the result of the review. In addition I can see the professional background of the reviewers and assess their criticism better. And the reviewers in an Open Peer Review receive visible recognition for their editing in which they have invested much effort.
Open Science also means exchange between science and society. But who must learn whose rules here?
IP: This calls for some kind of cross-cultural skill. Scientists must learn that all who do not share in their research – and that is the majority – want to know what the results mean in a bigger context. What does research finding X mean for my private life? Should I now do something or desist from something? And all people who do not work as scientists must learn that science never delivers final truths, but only a probability of truth which can be completely thrown over two weeks from now. Science looks for answers, it is in constant flux, and not simply an answering machine. At the end it helps to put yourself into the other one's shoes and to be curious about their expertise.
Is it sufficient to "dump" ever more information into society? Or do we also have to take into account the emotional effects of science communication?
IP: Of course we do. If I am aware that society is looking for answers – especially during crises – then I must take this into consideration in communicating science. I must clearly say what I have found out and what not, and I must say what this means exactly and what it does not mean. I must try to anticipate the emotional effects of my statements. Most researchers have mediators to assist them – press officers, communication experts. If I invite such a communication coach to support me and who reflects the "outside view", I can learn a lot. This is a general lesson: scientists do not have to know everything themselves, starting with interviews and ending with the organisation of an international conference. Just hire the pros for the job in question.
Is it okay if science communication works differently in times of crisis? What is your lesson for science communication from the Covid-19 pandemic?
IP: Science communication in times of crisis must be much more deliberate and free from all staging, as we have seen with the Heinsberg study. Science communication must communicate the lack of certainties. It is also ever more important to place findings within a bigger scientific context. Everyone must be aware that both research and good communication require time. Neither the discovery of knowledge nor the exchange about the findings can be accelerated infinitely. The production of knowledge is a collective process that requires much exchange with different interlocutors (e.g. with articles or public talks). The lonely scientific genius is a chimera. Cooperation is the reality. Therefore I think that scientific knowledge should be treated as common property and not something to be made a business of. When the scientific publishers removed the paywall from the Covid-19 papers, they implicitly confirmed for me that only Open Access contributes to a productive scientific exchange and that free access to knowledge is indispensable for progress.
Assuming that our readers have now discovered Open Science and/or peer review for themselves, which three things would you recommend for their daily practice?
IP: Tip 1 would be: Do not rely solely on commercial services such as Facebook or ResearchGate if you want to be visible on the web. Your own website is the most important tool – you can create it yourself, everyone can access it and nobody needs an account to do so. This is real openness!
Tip 2: Be active on social media and start small. Follow a colleague on Twitter. Leave short comments on articles you have just read, as a reading tip for others. Post tweets at conferences and share your own slides there. Thus you can offer added value and gain an idea of the benefits of being active on social media.
Tip 3: If you have reviewed authors and want to enable them to publish the written reviews and thus to make the reviewing process transparent, allow them to do so in your review and put it under a CC-BY licence (caution: the review will no longer be anonymous. If you want to stay anonymous, other CC licences are more appropriate). This encourages others to reflect on their own habits and perhaps to change them in the direction of Open Science.
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text:
Fiorinia hymenanthis är en insektsart som beskrevs av Sadao Takagi 1975. Fiorinia hymenanthis ingår i släktet Fiorinia och familjen pansarsköldlöss. Inga underarter finns listade i Catalogue of Life.

Källor

Pansarsköldlöss
hymenanthis


text:
Figlio di Carilao, fu padre del suo successore Teopompo.

Pausania ricorda che invase l'Argolide con l'aiuto degli abitanti di Asine e che durante il suo regno avvenne l'assassinio del re agiade Teleclo.

Note

Bibliografia
Fonti primarie
  (qui)

Altri progetti

Re di Sparta