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With constant Teev surveillance and rigid control in the CORE's most heavily populated state, Reese's job mostly consists of tracing small-time juke pushers or sending rebellious students to reconditioning. She doesn't have to face demented fringers that encroach upon the Core like her counterparts in Dallastar or patrol the northern borders where radiation-crazed animals attack unwary travelers. She's content with being the most accurate sketch artist in the CORE.
But when one of her sketches puts her up against a human monster bigger than anything else that might threaten the CORE, it's a fight she might not survive.
This unedited excerpt from Insight is part of my Colony Six futuristic dystopian sci-fi series. After finishing the first two books, I decided I really wanted to write about the catalyst that took Reese, one of my important characters, back to Dallastar near where she grew up and where the series really begins. This is the case that almost got her killed and eventually leads to a reunion with her childhood crew from Colony 6, otherwise known as the Coop (after the chickens they raised there for extra food).
You can read this story either before or after the first two books—it doesn't have spoilers. If you are new to my series, keep in mind that this short piece won't contain the intricacies of the much longer novels, but I hope it'll give you a taste of my post-apocalyptic world. I've included terms at the end of the book to help catch you up, so maybe take a peek at those. Enjoy!
The boys came running, laughing as they sped through the hallway. Ten-year-old Reese Parker couldn't see them yet from her spot near the back door of their school wing where she sat with her jean-covered legs stretched out in the sunlight that filtered through the glass, but she could hear their pounding footsteps as they came to meet her for lunch.
Here in this isolated place, they would never attract the attention of a more powerful crew, because doing so was only asking for trouble, even if most of the older kids were in a different wing and had other lunch periods. In a year or two, they might be strong enough to hold their own anywhere. Especially with Dani around. For now, they were holding their own in level ten.
Reese heard one of the boys trip—probably Jaxon, though it was Eagle who was practically blind. Eagle Eyes Jenson could remember each turn and navigated the hallways and classrooms at their school better than any of their crew. She set aside her precious sketchbook and looked up expectantly.
More laughter and an urgent shout. "Get up! Before he finds us!" Eagle's voice, not Jaxon's.
Sure enough, Eagle who turned the corner first, slid in beside her. His thin, freckled face held a wide smile, and his brown eyes under the heavy glasses were huge, magnified impossibly by the thick lenses. His brown hair was damp from exertion and hung limply in his eyes.
"What happened?" Reese asked, tossing him one of the readymeals she'd already snagged from the dispenser using his code. There were rumors about implanted codes which would force each child to collect their own meal, but adults talked about a lot of things that never happened. Reese figured by the time they got around to implanting ID's, she and her crew would be leveled out of school and away from the nightmare of living at the Coop.
Eagle caught the thin box with his scrawny arms and ripped off the plastic-coated carton top, grinning at the small bag of pretzels nestled in one of the small compartments. Reese was glad to see him so happy with his favorite snack. She had planned to give him hers if he didn't get any because though the meals ran in cycles, you never really had a choice about what popped out.
Reese sighed impatiently. "You still haven't told me what happened. Why are you late?" The boys were always late after their physical education class, which was why she picked up their meals for them, but today they were even later than normal.
Whatever else Eagle tried to say was lost as Jaxon Crowley plowed around the corner and collapsed beside Reese. Parts of his dark hair was wet with perspiration like Eagle's, and his blue eyes were dancing with the same amusement, but his face had an added gray tinge to it. A red mark stood out on his neck, as if he'd been burned.
"Did that pus licker do it again?" Reese demanded, studying Jaxon's neck. He was her best friend, and she couldn't help the anger boiling up inside.
As Eagle spoke, a flash of an image came to Reese's mind. She saw the substitute teacher's florid face and shaved head, his heavy body rigid and his fists clenched at his side. Wrinkles gathered under his eyes, and an ever deeper one ran down the bridge of his nose. A circle of dark, gray-fleck hair around his mouth, a mouth pursed as it screamed something that started with "You." His finger jabbed out accusingly. His big ears were quickly turning red, along with his nose and the top of his head. That was a man ready to blow, and blow big.
Instinctively, Reese reached for her drawing pad, her fingers itching to get the image on paper. Instead, she brushed up against the two remaining readymeals. Taking a breath, she passed one to Jaxon, looking carefully to make sure he wasn't shaking. Stunners hurt bad, and though it was supposed to be illegal for anyone but enforcers to have them, there were more than a few at the school for secret use on recalcitrant students. But Jaxon's hand was steady, so whatever blast the teacher had managed to give him, it hadn't been powerful.
"He's going to kill you tomorrow." She hadn't seen the teacher except in her mind, but his angry face scared her. Tomorrow maybe the stunner wouldn't be on the lowest setting.
"Well, running is important," Reese reminded him.
"I guess." Reese scooped up her own readymeal. She wanted her drawing pad instead—her fingers tingled to draw the image in her mind. But she didn't like being compelled like this, as if something outside her had control, forcing her to record the images that popped randomly into her mind. Images that were always one-hundred percent accurate. Jaxon knew about it, of course. She told him everything. He'd been born in the small house next to hers, six by seven meters like all the other houses in their district, and they'd been inseparable in nursery school, even before they'd formed the crew with Eagle and the others. A crew that kept them safe. But though he knew her secrets, she tried not to remind him of the weakness. Of the way she had to draw. Jaxon was the only halfway normal kid in their small crew of misfits, and he would be accepted into any other, but he'd chosen them. Because of her.
Pushing away the urge to draw, she leaned back against the wood door behind her that opened to stairs leading down into the bowels of the school. Eagle had once hacked into the handprint lock, of course, and that was how they'd learned what the door hid—water pipes, electrical wiring, and furnaces. Furnaces that school officials rarely thought they needed in Welfare Colony 6, even though Reese remembered too many days when the inside of the school was colder than outside, and everyone wore extra sweaters and all the pants they owned and some of their parents' as well, if they were lucky enough to have them—either parents and pants.
She moved her legs to catch more of the sunlight, refusing to think about that now. This was April and winter was too far away to worry about.
"So where are the girls?" Jaxon asked.
Reese shook her head. "Don't know." It worried her too that they were late, though it could have been the long lines at the readymeal dispensers. She hadn't seen them there as she normally did. She'd thought they'd already gone through, but they hadn't been waiting here for her.
"They'll be here soon," Eagle assured them.
Sure enough, they were still eating their meals when Dani Balak and the twins, Lyssa and Lyra Sloan showed up. More freaks. The twins because they were twins and Dani because of her short spiky white hair and her very black skin. They carried readymeals but were running, Dani a good head taller than the petite twins.
"It's the Jammers!" Lyssa huffed.
Reese set aside her meal and jumped to her feet, her heart hammering inside her chest. The two Jammer brothers, Witt, an older boy, and Keag, who was their age, lived near them and were the meanest boys they knew. Their crew was mostly made up of the biggest kids in level twelve, some as big as Reese's father and as angry as him after he'd downed a skin of sauce. Witt was their leader, and the boys followed him around like dogs, swaggering and tormenting anyone who happened in their way.
"It's just Keag and some of their crew," Danni said, pushing her readymeal at Lyra and turning to face the bend where Reese could hear someone coming down the hallway. "Witt ain't with 'em. I can take care of it." She raised her fists in a ready position, an expression of gleeful anticipation on her square, rugged face. Her black skin glistened under the harsh hallway light. She looked fierce and more than a little unbalanced.
No doubt Dani could take Keag and a couple others at the same time, but Reese needed to be ready. She slipped her left hand into the pocket of her jeans and grasp the metal fork she'd stolen from the hospital last year when someone at the school had discovered her taking an important test with her non-dominant arm and realized her left was broken. Since the break thirteen months ago, she'd worked on using both hands, just in case. Both for school work and for fighting. Nothing was going to prevent her from leveling out of school and getting released from Colony 6. She wouldn't die working in the factories like her mother. She wanted to be out in the real world with the rest of the citizens in the CORE, instead of locked in with the poor trash that depended on charity to survive.
Next to Reese, Jaxon was also taking something from his pocket. She knew what it was without looking—a spoon he'd shaped to go over his knuckles. He hit almost as well as Dani. Even the twins and Eagle knew how to throw a punch. Well, with Eagle it was only if he managed to see where to land the punch, but he had a pretty good right hook, and his skinny arm was long and tough.
"Then we fight!" Dani motioned for Lyssa to give her space.
"Why are they after you?" Reese switched her fork to her right hand, wiped her left on her pant leg and then switched the fork again to the left.
"You should have let them take the bag!" Lyssa growled at her.
Reese felt a little tug in her chest, but it didn't surprise her that Lyra would refuse a dominant crew something meant for Eagle. Their crew was as close as family. Or closer in her case.
"Or we could disappear," Eagle said.
Of course he did. Just as he knew how many steps were in each hallway and classroom. It was his version of using both hands. His mind, or maybe his memory, was his ticket to leveling out of school, despite the poor vision that might ordinarily cause him to fail.
"We can take them," Dani insisted.
The six kids stared at each other for a moment, all the while listening to the approaching footsteps that had slowed as the opposing crew obviously checked classrooms and other hallways. Not for the first time, Reese wondered if their choices would be different if they weren't all freaks.
"Eagle and Lyssa are right," Reese said so everyone knew where she stood. She wasn't afraid to fight when she had to, but fighting when there was a safer option, especially for the twins and Eagle, was pure stupidity.
Jaxon met Dani's eyes. He was officially their leader and normally influenced their final decisions, but Dani was a wild card. If she wanted to fight, they'd fight. Not one of them would leave her.
Reese shuddered at the threat. She didn't envy the Jammers. In the past two years, Dani had gone from a regular girl to a fighting machine. She moved faster than seemed possible, and her punches had already laid out more than a few older kids. In a year or two, no other crew would be able to mess with them, not even those in the eighteenth level.
Dani stood guard while they gathered up their readymeals and darted inside. A dim glow shone in the stairwell far below, and Reese was glad for the light. The door locked behind them with an automated click. Eagle sat on the first stair and the others followed. Only Dani remained standing by the closed door, ready for anything.
They didn't have long to wait. Loud, taunting voices filled the hallway, and someone banged on the door to the basement when they realized it was locked.
"They must have gone outside," said someone else. "Come on. We'll get them out there." Shuffled steps moved away.
"They'll be opening the door right . . . about . . . now," Eagle whispered. Sure enough, they heard a loud thwack! as someone roughly pushed open the outside door.
"They'll have to be in class soon," Lyssa said. "They can't lurk around in our hallways much longer." Lyra nodded in agreement.
"We've got time to finish eating," Jaxon lifted the carton top covering his meal.
Now that they were no longer in immediate danger, Reese's hands itched to draw again. She had to draw the face of the substitute teacher. Her stomach ached with the need.
"You going to eat those?" Eagle pointed at her pretzels.
"No. Go ahead." She tossed them at him. Lyra tossed hers at him too, followed by Lyssa and Jaxon.
Dani aimed her bag at Eagle's head, laughing and shaking her head, the white strands of her hair poking out crazily. "You deserve them," she said, hitting him on the forehead.
Ten minutes later they were heading to math class, the one class they all had together. By then Reese was sweating and shaking. She had to draw the image of the teacher she'd seen in her mind, but it wasn't as though she could mask what she was doing. They used Teevs embedded in their desks, and all schoolwork was submitted electronically. The only exception was art class. But in math class, the teacher would notice her scribbling, maybe even take away her precious pad and drawing pencils, the only things of value she owned, a gift from her father's aunt on the outside. She'd filled the other pads already, and this one still had so many fresh white pages.
Reese nodded, unable to speak. If she didn't get it out, she'd be shaking the rest of the day, and that wasn't good. She couldn't afford to fail.
She slid in behind Jaxon and pulled her book out of her ragged sack. In minutes, the sketch of the substitute teacher appeared under her hand, as if of its own volition. She was aware of each line, each curve, each bit of shading, as if it were a part of her—and yet somehow coming from outside. She didn't need her eraser once. She wished she could use some of the colored pencils she'd permanently "borrowed" from her art class, but those were at home, tucked under her CORE-issued mattress. She shaded the redness of the man's face with her pencil instead.
Nodding in agreement, she gave the boy a smile and shut her notebook, tucking it under her. At the front of the classroom, the math teacher paced back and forth, waving his hands animatedly in the air to emphasize his story about the usefulness of math in every profession. Jaxon glanced back at her and winked. He wouldn't ask about the picture later, and she wouldn't remind him. This was why he was her best friend.
He would always be. Nothing could separate them. Not even leaving the Coop.
Except in the end, it didn't work out that way. Not even a little.
Detective Reese Parker began recording the sketch, her hand moving quickly over her drawing pad. She ignored the prisoner, Arlie Cruz, seated across the table with his cuffed arms folded to his bony chest in a way that clearly said he wasn't going to tell her anything.
But he already had. More than he could ever guess.
A man's image formed under her fingers. The blunt curve of his jowly face, the lumpy nose, the swollen, pouty lips. The hair that was short in front and touched the material of his collarless suit in the back. His ears were large for even his decidedly large proportions. He wasn't a handsome man by any stretch of the imagination, though he might have been in his younger years, but he exuded power and confidence. The smoothness around his brown eyes testified of Newskin therapy, and he'd probably had it more than once. Yet weight and age had caught up to him in the end, showing in the puffy, saggy cheeks and the uneven nose. His chest was also heavy compared with the comparatively slender legs, in that way that men sometimes got as they aged and ate in too many restaurants instead of sticking to the filling and nutritionally balanced readymeals.
What she didn't know yet was how the man in her drawing related to the man seated in front of her and the juke they'd found in the destroyed building.
"What are you doing?" demanded the prisoner, craning his thin neck to see her drawing, but Reese kept the pad angled so he couldn't see it.
She was also careful to keep it out of direct line of the room's camera. Anyone watching her interrogation would assume she was simply preparing her canvas with a blank character similar to those in Teev-generated identification programs. Because that was what she'd told them in the past. After all, she couldn't possibly sketch a suspect that hadn't yet been verbally described. Her coworkers already thought her strange to work with paper and pencil, which was far more costly than using a Teev and its elaborate software, but the ninety-nine percent identification rate from her drawings had given her leeway with Captain Homer. He complained about the cost of paper, though, and these days she bought as much herself as she ordered from the division. Too many of the sketches she received from those around her had nothing to do with enforcer business. She grown accustomed to carrying a personal notepad along with her official one.
She let her prisoner stew for a moment, her pencil shading in the man's suit. It was black with silver threads woven throughout, but she couldn't tell from the drawing if it was a name brand outfit or one of the cheap knockoffs. Probably it was real. He had a thick gold chain around his wrist and a heavy gold ring.
"I have no idea what you're talking about," Cruz retorted, one corner of his narrow lips lifting in a mocking sneer. With his small eyes, pinched mouth, and pointed nose, he was completely unlike the man in her drawing. More like a ferret she'd seen on a pre-Breakdown animal show.
"Why don't I believe that?" Reese said mildly.
"We found the juke," Reese reminded him, looking up at Cruz but not stopping her sketch.
The problem was, he was right. Not the honest part, but the part that she didn't have anything solid on him. For weeks, she and her partner had been following a student from the Teeve certificate institute, a twenty-year-old kid known for selling smeg laced with juke. On its own the mildly addictive smeg, a drug that simulated a sexual rush, wasn't illegal, but mixed with the harder juke, it had a devastating effect on CORE youth. Today the student had led them to a dilapidated building in an empty zone, and Reese had been sure they'd finally followed the tiny fish to a medium-sized fish and somehow, by CORE, she was going to find the daddy fish.
The problem was, there was no direct Teev feed in most of the empty zones, and Reese and her partner had to go in blind. The result was that while juke was present at the house, they had nothing substantial to connect it to Cruz. Even the student denied knowing him, saying he wasn't his usual contact, and nothing on the drugs themselves showed any link to Cruz. Reese's captain had already sent the boy to reconditioning. It was his first offense, so a little education might turn him around. If not, his next stop would be banishment to a colony or permanent medical enhancement. Usually the colony threat was enough to turn around anyone who wasn't addicted to juke.
He was right about that too, but Reese wasn't willing to admit defeat. At least not yet. When she'd asked Cruz where he'd gotten the drugs, his mind had clearly sent her the flash of the man in her drawing. A flash she called a sketch. Without knowing it, Cruz had identified whoever was over him, but since their conversation was being recorded by the cameras in the room, she had to get him to verbalize a description before she could act on the drawing.
Cruz worked for Kordell Corp, or KC as it was often referred to. The company was the largest non-CORE-owned business in Estlantic, and they created and packaged readymeals. Their largest single client was the CORE itself, and the company supplied most of the charity units donated to the welfare colonies. With three hundred thousand of the CORE's two million citizens confined to the colonies because of their inability to support themselves, that was significant. The colony contract alone meant Kordell Corp received a lion's share of the fifty percent taxes levied on both the population and businesses alike. But while the KC was impressive, Cruz was just a low-level manager, and Reese was nowhere close to determining if he was acting on her own or if the company was also involved. The more she thought about it, the more readymeal packaging seemed a perfect front for a drug operation.
The way he said it was angry and indignant, and Reese recognized the not-so-subtle hint that his loyalty to the CORE might not be complete. If the Elite made the empty zones off limits, it might reduce the amount of pre-Breakdown tech turned in, but it would make her job easier, not to mention protect the people from any of the radiation-crazed monsters from the more distant desolation zones.
It was much the same story he'd given her before, with only nonconsequential variations. Nothing she could lever to make him rat on whoever pulled his chain. She knew he was guilty, and that he knew far more than he was saying, but unless she requested truth drugs he might not tell her anything. And those cases were always transferred the Headquarters Enforcer Division, or HED, to be overseen by the Controller himself.
"Right. But what about before you reached the building? Surveillance at the edge of that particular empty zone didn't show anyone else entering where you did." This was a lie, but how would he know that. There had been exactly six other people entering, and her partner was currently tracking them all, but at first glance none of them seemed likely. "You were there searching, obviously, for your daughter's birthday gift. You might have seen someone else. The drugs had to get there somehow, so if you saw even a glimpse of someone else, that might go a long way to corroborating your story. And helping me identify him would protect children like your daughter." Would he jump at the bait?
"Well there was someone," he said.
She nodded. "Good. Okay, that's a start." Now she had to make him describe the person in her sketch. And that meant leading questions, not waiting for him to come up with his own lie.
"Yeah, short. Above the eyes." Cruz relaxed in his chair, letting his hands drop to his lap.
"Right," he said. A slight smirk hovered around his mouth for a second. He thought he was being smart, and Reese didn't mind letting him think he was playing her. She was more than ever convinced he hadn't seen anyone besides the student in the empty zone, not even the man in her drawing. But the man in the drawing was somehow connected to Cruz and the drugs.
And so she led him along the trail she needed him to go. Each feature he identified could have been the base for tens of thousands of other people in the CORE, but they also fit the man in her drawing. Only another sketch artist would catch what she was doing or wonder how she came up with details in her final sketch, but she was the only artists in this division. Most enforcer artists worked for the Central Identification Unit and were called temporarily to different divisions as needed. The CIU was always trying to recruit her, but she'd wanted more than just drawing. So for the past ten years she'd clawed her way up the enforcer ladder to detective status, and she wasn't about to give that up. Maybe someday the skills she was learning would help her solve the murders from her past.
Cruz cleared his throat, as if stalling for time. Too late for him. A sketch of the same man as before flashed to Reese's mind. This time he was inside a factory of some kind. Behind him and to the side, two lines of workers, dressed in white from head-to-toe, stood at tables scattered with obvious juke paraphernalia.
Reese didn't have time then to put the second sketch into her book, but it would remain crystal clear in her mind until she did. In fact, it would gnaw away at her until she recorded it, but she could wait without shaking, as long as there weren't too many images piled up in her mind.
"Of course." She smiled and extended her pad.
Cruz leaned forward and gave an audible gasp. Color leaked from his face, leaving him pasty. "No!" he grated. "That's not him. I don't know that man! I didn't see him!" The words came with a strange panting breath.
"No!" His reply was strangled, and with it came another sketch to Reese's mind. A flash of a dead man lying on a floor, a bullet hole through his temple. The image sent a shudder through her body.
One thing was clear: whoever the man in the sketch was, selling juke was the least of his crimes.
I liked the story. I can't wait to read the rest. Several typos: when should be went, check for gender correctness of pronouns, her was used instead of him. Proofreading is hard.
Thanks, Janene! I appreciate the response. As to the typos, this is a yet unedited/unfinished excerpt, lol. I'm plan on editing it another time before the editors get to it. Hopefully, they'll catch it all! But I'll go search "her" right now to see if I can find those at least. Thanks again.
Found the "when" and one other, but not the "her" one. I'll try again later!


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home » JIS News » Local Government
NWC Outlines Challenge of Serving Deep Rural Districts
Written by: O. Rodger Hutchinson
Photo: Adrian Walker
President of the National Water Commission (NWC), Mark Barnett, addresses a JIS 'Think Tank' on January 11.
JIS News | Presented by:
Capacity to Respond to Tsunami Adequate – ODPEM
Earthquake Awareness Week January 7 to 13
Tsunami Alert Cancelled for Jamaica
The National Water Commission (NWC) is encouraging Jamaicans living in deep rural communities to explore using tanks and catchment facilities to store potable water for domestic use.
"It is not economically viable for the NWC to provide an efficient service and to generate a surplus that could be adequately reinvested if we take on some of these remote [and hard-to-reach] communities… it's just not possible," President of the NWC, Mark Barnett, said.
"In most of these communities, the population is not concentrated, they are sparsely dispersed across a large area and when you put in that level of investment (in terms of infrastructure), it is going to cost a lot, which you are not likely to recoup. We are into centralised systems," he added.
Speaking at a JIS 'Think Tank' on January 11, the President pointed out that the provision of potable water has become a costly undertaking and in some areas it is extremely expensive to provide the infrastructure to pipe water to some homes.
He explained that putting in the infrastructure in some areas has become so expensive that it would be unwise to proceed without some form of direct subsidy from the Government to offset the cost.
Mr. Barnett noted that there are a number of those communities and it would be more suitable to have other systems to provide potable water.
"Those days when people used to invest in rainwater harvesting, we need to revisit that. It's a significant area that must be part of any solution in solving and providing access to potable water. We have to now look again at community catchment systems," he suggested.
"Tanks that were community catchments, those need to be revitalised, reactivated and utilised as part of the modality of providing water," he added.
Mr. Barnett said that where Municipal Corporations operate these facilities, including major stand-alone wells and water acquirers that are used to provide piped water to small communities, the NWC will assist by providing experts to guide their efficient operations.

redpajama_set_name: RedPajamaCommonCrawl


Appearance of a new concept speaks for itself; you need only to look at the pictures. Coupe will look more modern and aggressive.
Concept, as a result of technological innovation, will receive a significantly reduced weight due to the carbon fiber roof and body, also will be increased the number of high-strength steel in the body structure, hood and fenders will be made of aluminum and so on. As a result, the car will be lighter than the BMW M4 Coupe, which was created based on the concept, 280 kg.


Back when I first started building web apps we'd just "do it in production" by vi'ing Perl & PHP files on the server. This was fine because the risks and expectations were low. No big deal if I broke the app for a few hours. Good thing I made an app.php-bak copy!
As software became more critical to businesses, the risks of making changes to production systems increased. To cope with these risks we slowed down delivery through processes. Today many enterprises are so bogged down by risk aversion that they may only deploy to production once a year or less. The rate of change in businesses and software continues to increase and the expectations are even higher. Downtime is not an option but that change also needs to go out now!
We need a way to reduce risk and increase the rate of delivery. The two seem to be opposing but Continuous Delivery provides a way to deliver more often AND reduce risk.
As the name implies, the idea of Continuous Delivery is to continuously deliver changes. There are many ways to do that but the process should be scalable depending on the acceptable amount of risk. For some apps a little potential downtime is worth the tradeoff of essentially being able to "do it in production" for some changes.
Continuous Delivery can be thought of as a pipeline… There is an input / source that needs to be moved and transformed in a variety of ways until it reaches it's output, the production system. By adding or removing the steps in between we can adjust the risk profile.
A Source Control System (SCM) that enables developers to collaborate but also enables a direct correlation between a point-in-time in the source and a deployment of that source.
Single directional flow from source to deployment. No more "do it in production" because that breaks the source to deployment correlation.
A repeatable and pure method of transforming source into something that can run. Repeatability is usually accomplished by using a build tool. However, often builds specify dependencies with version ranges, sacrificing the pureness. Don't do that.
Reducing risk further we could add a staging system that auto-deploys the changes (with or without CI validation depending on your needs). After manual validation the changes could then be manually promoted to production.
Taking things a step further we can hook into GitHub's Pull Request process to deploy and validate changes before they are merged into a production branch (e.g. master). In Heroku this is called "Review Apps" in which Heroku automatically creates a fresh environment with the changes for every Pull Request. This enables actual app testing as part of the review cycle.
Sometimes a feature may not be ready for end user testing or launch but that shouldn't prevent you from actually deploying the feature! For this you can use "Feature Flags" a.k.a. Feature Toggles.
Another technique that can be useful to reduce risk with Continuous Delivery is "Canary Deploys" where only a portion of users run on a new version of the app. Once a period of time validates the new version is "safe" for everyone, it can be rolled out to the rest of the users.
Of course Continuous Delivery isn't a silver bullet as there are always tradeoffs. One of the challenges with Continuous Delivery is with database schemas. For instance, what if you were to do a schema migration as part of a Canary Deploy? With two versions of the app running simultaneously you may break one version with the schema changes from another. NoSQL / Schema-less databases are one way to address the issue. Another option is to decouple code deployments from schema migrations, utilizing testing / staging environments to validate the schema changes.
Implementing Continuous Delivery with large and complex systems can be pretty tough. But this is one of those things that if you don't figure out how do, it won't matter cause your business will likely fade as it is overtaken by startups that deliver software as the business needs it. If you need some more practical advice on how to get there check out my Comparing Application Deployment: 2005 vs. 2015 blog post. Let me know how it goes.


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Carmelo Anthony Launches Online Hoops Coaching Platform
By Andrew Cohen December 9, 2020
NBA star Carmelo Anthony and basketball trainer Alex Bazzell have launched Through The Lens, an online education platform aimed at giving students and young athletes access to top minds in the basketball industry.
Content will be shared in video-based packets from talent such as Anthony, Atlanta Hawks point guard Trae Young, and WNBA stars Candace Parker, Napheesa Collier and Sabrina Ionescu. Journalists Shams Charania and Cari Champion will also offer packets.
Individual packets will cost $90, or a user can spend $150 for full access to all content on Through The Lens. The packets will see talent teach lessons regarding actionable drills, championship mindsets, work ethic, and on-court technique.
"Through the Lens is more than a coaching tool, it is a referendum on what has long been a sector of the sport that is tailored to the men's game only. Our goal is to create a gender balanced platform and allow both young men and women to be represented at the very highest level," said Bazzell, a skills coach renowned for training NBA and WNBA players.


It all started with two men and a dream. Forty years and nearly a quarter of a million services later, People Working Cooperatively has become the region's leader in providing professional home repairs and services to low-income elderly and disabled homeowners.
Our mission: People Working Cooperatively performs critical home repairs and services so that low-income homeowners can remain in their homes living independently and healthier in a safe, sound environment.
People Working Cooperatively is a unique, non-profit organization serving low-income, elderly, and disabled homeowners. PWC strengthens communities by providing professional, critical home repairs, weatherization, modification, and maintenance services to help residents stay safely in their homes.
The story began with two men, a telephone, and a desk. From a garage in Covington, Kentucky, two employees and a small volunteer administration team set out to provide low-income households with minor home repair and weatherization services. During the year following its inception, PWC helped 43 low-income homeowners.
PWC proudly provides more than 10,000 services to eligible clients each year, who on average earn about $13,500 a year. Typically, these individuals face challenges due to illness, disability, job loss or other circumstances.
PWC is supported by a robust group of more than 120 licensed, professionally trained staff members and administrative personnel. It's dedicated corps of 7,000-plus volunteers makes it one of the largest volunteer corps in the region. Community members are invited to join PWC's cause by participating in a number of volunteer opportunities throughout the year. This growing list of events includes Repair Affair, held each May to complete home repairs and modifications not otherwise funded by agency dollars, and Prepare Affair, held each November to help clients prepare for the approaching winter.


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A successful completion of doctoral studies leads to a PhD degree - the highest degree awarded in Sweden - and typically requires four years of full-time study or the equivalent of 240 credits.
In order to receive a PhD degree, you must have a PhD thesis of at least 120 credits approved.The PhD thesis must be defended orally and in public. The public defence application should be prepared in advance, no later than 4 months or more before the desired examination date. For details about the application process and the public defence, see "Further resources".
Your thesis has to be published at least three weeks before the public defence. The purpose is to give the general public the opportunity to read your thesis in advance and be able to ask questions during the public defence.
The printed thesis should be available at least three weeks prior to the public defence. The research officer at the department of academic affairs and student support is responsible for distributing your thesis within and outside the University.
The traditional nailing is an academic ritual in connection with the presentation of a PhD or licentiate thesis and is not mandatory. PhD students can nail their thesis on a board at the library entrance at least three weeks before the defence date. Nail, rope, hammer and a copy of your thesis are available at the library for this purpose. The thesis can remain on the board after your public defence. It is possible to organise a reception in connection with the nailing ceremony. To announce your nailing ceremony, please contact our research officer (under "Contact").


text:
aPA Now
What is public art?
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William McKinley (1908)
by Charles Albert Lopez (1869 - 1906)
Isidore Konti (1862 - 1938)
Photo Caption: Photo Caitlin Martin for the Association for Public Art
City Hall, South Plaza (Broad and Market Streets)
Charles Albert Lopez (1869 - 1906), Isidore Konti (1862 - 1938)
Bronze, on granite base
Height 9'6″, width 3'9", depth 3'9" (base height 14'6″, width 10'5", depth 12'10")
Presidents and Leaders, Political Public Art
Commissioned by the Fairmount Park Art Association (now the Association for Public Art) and the Philadelphia Inquirer
Owned by the City of Philadelphia
Museum Without Walls Audio
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MWW: VIDEO
About MWW
Part of the Museum Without Walls™: AUDIO program
The Inquirer initiated a public subscription to erect a memorial to McKinley following his assassination
The Fairmount Park Art Association (now the Association for Public Art) coordinated the project
McKinley is shown delivering a speech with a symbolic figure of wisdom instructing a youth below him
Following the assassination of President William McKinley on September 14, 1901, the Philadelphia Inquirer initiated a public subscription to erect a proper memorial. McKinley himself was associated with the city's monuments having dedicated the Washington and Grant memorials.
McKinley, who was known for his tariff and currency policies, is depicted in a characteristic pose in the midst of delivering a speech.
The Fairmount Park Art Association (now the Association for Public Art) was asked to coordinate the project and initiated a design competition. Of the thirty-eight models that were submitted for consideration, that of Charles Albert Lopez was chosen.
Born in Metamora, Mexico, Charles Lopez studied with John Quincy Adams in New York City, and later at the Ecole des Beaux-Arts in Paris. Lopez showed great promise when he was awarded the McKinley commission, but he died unexpectedly, soon after completing the working models for the sculpture. The executors of the fund and and the Committee on Design selected Isidore Konti, an artist born in Vienna and known for his decorative monumental work, to complete the memorial.
Photo Caitlin Martin © 2013 for the Association for Public Art
McKinley, who was known for his tariff and currency policies, is depicted in a characteristic pose in the midst of delivering a speech. Below him sits a symbolic figure representing wisdom instructing a youth.
Adapted from Public Art in Philadelphia by Penny Balkin Bach (Temple University Press, Philadelphia, 1992) and Sculpture of a City: Philadelphia's Treasures in Bronze and Stone by the Fairmount Park Art Association (now the Association for Public Art) (Walker Publishing Co., New York, 1974).
How to Request Images
Voices heard in the program:
Lewis L. Gould is Professor Emeritus of American History at the University of Texas at Austin. He is the author of The Modern American Presidency.
Audrey Flack is a nationally recognized sculptor whose work is included in the collections of major museums around the world. She is an honorary professor at George Washington University and has been a visiting professor at the University of Pennsylvania.
Segment Producer: Sarah P. Reynolds
A program of the Association for Public Art (formerly the Fairmount Park Art Association), Museum Without Walls™: AUDIO is an innovative and accessible outdoor sculpture audio program for Philadelphia's preeminent collection of public art.
Photo Albert Yee © 2010 for the Association for Public Art
A "multi-platform" interactive audio experience – available for free by cell phone, mobile app, or on our website – Museum Without Walls™: AUDIO offers the unique histories that are not typically expressed on outdoor permanent signage.
Unlike audio tours that have a single authoritative guide or narrator, each speaker featured in Museum Without Walls™: AUDIO is an "authentic voice" – someone who is connected to the sculpture by knowledge, experience, or affiliation.
Over 150 unique voices are featured, including artists, educators, scientists, writers, curators, civic leaders, and historians.
This artwork is part of the Around City Hall tour
More artworks
Alexander Milne Calder (1846 - 1923)
William Penn full content
John Massey Rhind (1860 - 1936)
John Wanamaker full content
Matthias William Baldwin
Herbert Adams (1858 - 1945)
Matthias William Baldwin full content
John Christian Bullitt
John J. Boyle (1851 - 1917)
John Christian Bullitt full content
Around City Hall
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info@associationforpublicart.org or call 215.546.7550
© 2022 Association for Public Art. | Created by Bluecadet.


text:
require 'test_helper'

class RoutesControllerTest < ActionController::TestCase
  setup do
    @route = routes(:one)
  end

  test "should get index" do
    get :index
    assert_response :success
    assert_not_nil assigns(:routes)
  end

  test "should get new" do
    get :new
    assert_response :success
  end

  test "should create route" do
    assert_difference('Route.count') do
      post :create, route: { routeid: @route.routeid }
    end

    assert_redirected_to route_path(assigns(:route))
  end

  test "should show route" do
    get :show, id: @route
    assert_response :success
  end

  test "should get edit" do
    get :edit, id: @route
    assert_response :success
  end

  test "should update route" do
    patch :update, id: @route, route: { routeid: @route.routeid }
    assert_redirected_to route_path(assigns(:route))
  end

  test "should destroy route" do
    assert_difference('Route.count', -1) do
      delete :destroy, id: @route
    end

    assert_redirected_to routes_path
  end
end

redpajama_set_name: RedPajamaGithub


Likely the first female realtionship you will have with a woman is your Mother and the first male relationship you will have with a man is your Father and in today's modern world it may also be two fathers or two mothers but nevertheless we learn how to be in relationships from our primary care givers.
Click the link below to watch my Facebook live on Rapid Transformational Therapy and Relationships. I am sure you will get lots out of it.
We form our understanding of our adult relationships through our earlier life experiences and through the mores of the society that we grow up in and develop in. This effects our love relationships, our friend relationships and our work realtionships enormously. Understanding our relationship language is so important to forming satisfying and healthy relationships in our adult world. How are you in relationships? Do you look to others to make you whole? Are you looking for someone else to make you happy?


text:
The Mother and the Father (Faber Drama) (Paperback)
By Florian Zeller, Christopher Hampton (Translator)
Anne loved the time in her life when she prepared breakfast each morning for her two young children. Years later, spending hours alone, Anne convinces herself that her husband is having an affair. If only her son were to break-up with his girlfriend. He would return home and come down for breakfast. She would put on her new red dress and they would go out.
The Mother, in this English translation by Christopher Hampton, was commissioned by the Ustinov Studio, Theatre Royal, Bath, and premiered in May 2015. Florian Zeller's The Mother was awarded the Moliere Award for Best Play 2011.
'A wonderfully peculiar, quietly stunning depiction of dementia... A controlled, unforgettable portrait of losing your memory.' Times
'A vivid, lucent translation by Christopher Hampton.' Observer
'One of the most acute, absorbing and distressing portraits of dementia I've ever seen.' Daily Telegraph
'A play that constantly confounds expectations and works almost like a thriller, with a sinister Pinteresque edge.' Guardian
The Father, in this English translation by Christopher Hampton, was commissioned by the Ustinov Studio, Theatre Royal, Bath and premiered in October 2014. The production transferred to the Tricycle Theatre, London, in May 2015. Florian Zeller's The Father was awarded the Moliere Award for Best Play 2014.
European - French
Publisher: Faber & Faber
Series: Faber Drama


text:
NIGHT OF THE IGUANA, THE
(director/writer: John Huston; screenwriters: from a play by Tennessee Williams/Anthony Veiller; cinematographer: Gabriel Figueroa; editor: Ralph Kemplen; music: Ben Frankel; cast: Richard Burton (Rev. T. Lawrence Shannon), Ava Gardner (Maxine Faulk), Deborah Kerr (Hanna Jelkes), Sue Lyon (Charlotte Goodall), James Ward (Hank Prosner), Grayson Hall (Judith Fellowes), Cyril Delevanti (Nonno, Poet Grandfather); Runtime: 125; MPAA Rating: NR; producer: Raymond Stark; Seven Arts; 1964)
"Noteworthy for Burton's acerbic performance and Ava's seen-it-all portrayal of an earthy lady."
Night of the Iguana is based on a morality play by Tennessee Williams. Writer-director John Huston ("Wise Blood") filmed this powerful psychological drama in Puerto Vallarta, Mexico, and in black-and-white. It stars Richard Burton as Rev. Shannon, an alcoholic defrocked minister (the result of a sex scandal), who ekes out a living as a seedy tour guide. He's escorting a bus full of American lady teachers across Mexico, and guides them to a rundown hotel in west Mexico owned by buxom widow Maxine Faulk (Ava Gardner). Sue Lyon is the lustful 18-year-old nymphet under the care of the teacher group leader Grayson Hall, who acts to get Burton fired for sexual misconduct with Lyon. Artist Deborah Kerr stays at the hotel with her ailing, elderly poet grandfather (Cyril Delevanti), and is attracted to Burton despite their different personalities. Her sexual repression is contrasted with Ava's looseness, Lyon's aggressive sexual appetite and Burton's besotted rep. In this sea of sexual tension, all the leads are struggling with their inner demons.
Burton, Huston, and Tennessee Williams make for an oddly interesting trio of artists in a film that raises questions of faith, sexuality, life purpose, and duty. "Iguana" is noteworthy for Burton's acerbic performance and Ava's seen-it-all portrayal of an earthy lady.
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text:
individual aspirations, collective expectations
gail priest: arena—a post boom beijing, hazelhurst gallery
still from Total Eclipse (2010), Gao Shiqqiang
courtesy the artist and Magee Gallery, Beijing
IN THE LEAD UP TO THE 2008 BEIJING OLYMPICS AS CHINA'S CAPITAL RAPIDLY REDEVELOPED TO GREET WESTERN CAPITALISM, SO DID ITS ART SCENE. CHINESE CONTEMPORARY ART BECAME THE 'NEXT BIG THING' AS GALLERIES AND ART ZONES OPENED UP ALL AROUND THE CITY, WITH INTENSE INTEREST FROM INTERNATIONAL DEALERS AND COLLECTORS. IT ALSO SAW THE ADOPTION OF VIDEO AS A MEDIUM BY MANY MORE CHINESE ARTISTS. LAURENS TAN, AN AUSTRALIAN ARTIST OF CHINESE ORIGIN RELOCATED TO BEIJING IN 2006 AND THE VIDEO EXHIBITION, ARENA, WHICH HE HAS CURATED FOR THE HAZELHURST GALLERY, REFLECTS ON WHAT HAS HAPPENED IN BEIJING AFTER THE INITIAL FRENZY.
Not surprisingly, many of the works exhibited deal with the changing cityscape and the built environment. The most engaging of these is Nan Hao's Chi 3 (2008) in which Hao performs Tai Chi in the middle of eight lanes of traffic. While it could be seen simply as an act of bravado, Hao's performance is humble and contained, shifting through small gestural sequences occasionally obscured by large trucks. At one point he holds his hands forward in a stance of resistance, and for a fleeting moment we think that he has succeeded in stopping the oncoming cars, but it's the traffic lights that have this ultimate power. The footage is low quality, but it adds a sense of intervention and immediacy to this simple yet powerful work.
Beijing Ballet (2010) by Allan Chawner explores similar territory. An Australian artist, in-residence at the Red Gate Studios in Beijing, Chawner has captured a street scene in moody dusk light. Watching the ebb and flow of traffic, he focuses on a man on a bicycle carrying an unbelievably large load. Stranded in the sea of cars he exhibits patience similar to Hao's, however Chawner aestheticises the experience by replacing the traffic sounds with a version of Debussy's Clair de Lune. The music heightens and poeticises the visual material but, verging on cliché, steers the piece towards a romanticised western vision of the contemporary east, in effect flattening the power of the original footage and, played at volume, it dominates the gallery space.
Beijing Handscroll (detail, 2009), Miao Xiaochun
courtesy the artist
Also using Beijing streetscape as his material is Miao Xiaochun in the photomedia work Beijing Hand Scroll (2009). Drawing on the ancient art of hand scrolls, which by tradition depict cityscapes in intense detail and can reach to over five meters in length, Xiaochun has used a 360-degree camera to capture panoramas of Beijing streets. Exhibited as stills over eight screens, these panoramas illustrate city crowds, street markets, decrepit lanes and new high-rise developments. The images are manipulated using something like the 'find edges filter' in Photoshop creating a density of detail that resembles etching. The images of humans are treated with a variety of smudging tools, giving both a sense of movement and a dreamy insubstantiality to the figures, in contrast to the precise representation of their environments. As you can never take in the whole image at once, the depth of detail is both fascinating and overwhelming. Further exploration of Miao Xiaochun's vision of the city was not possible as his interactive work, Bejing Index (2009), was not functioning.
Wang Qingsong's Skyscraper (2008) is perhaps the most explicit in its presentation of the rapidly changing environment. A time-lapse exploration of a building growing into the sky, the work takes on more weight when research reveals that the artist and 40 workers in fact built the apparent skyscraper over a month, specifically for the shoot. This level of commitment is perhaps what make's Qingsong's work particularly impressive.
In Ironman (2008), Qingsong himself appears to be repeatedly beaten around the head until he is bloody and disfigured, hair and teeth missing, yet still laughing at his oppressors. The sharp rhythmic editing and time-lapsing of images makes the work shockingly brutal. The angle of the head to the camera references an old propaganda poster that prompted people to live with strength and dignity in the face of adversity. Qingsong's joyous expression at the end is ambiguous—is he laughing victoriously or has he cracked under the relentless violence?
123,456 Chops (2008), Wang Qingsong
However Qingsong's third work, 123,456 Chops (2008) is even more disturbing. In a darkened space a pool of light illuminates a large wooden platform. A man enters with the body of a dead goat and chops it into pieces with two cleavers, as if preparing it for cooking. The chopping continues, but now in time-lapse—over many hours the meat is diced, minced and pulverised and it is finally sprayed around the entire space, creating a velvety red carpet. Qingsong presents this obsessive behaviour as a means to vent "anger, violence, suffocation, sadness and disappointment" (artist statement). The work certainly raises questions about sanity and violence, and how a society deals with or, in fact, contributes to these.
Animation also featured strongly in Arena. Two works by Rei Li, one of Beijing's up and coming artists, employ a quirky hand-drawn approach that playfully explores ideas of conformity. In Magic Cube and Ping Pong (2010), figures with mixed up Rubik's Cube heads wander through an intricate futuristic city but run the risk of being set to normal—all colours in order—unless saved by the touch of love and a ping-pong ball. Each to their own metaphor. His second work, Pear and Alien (2008), is particularly visually appealing: drawn only with red and blue pens on graph paper, it explores our fear of the other, which is revealed to be just ourselves turned upside-down.
Wu Junyong (previously featured in Mu:Screen at the UTS Gallery, RT98) also contributed a series of animated works, Carps (2007), When We Are Rich (2005) and two interactive pieces, Central Park (2006) and Pixel Underground (2007). This artist's idiosyncratic symbology is dominated by naked figures, each wearing a dunce's cap: they expose their phalluses, wave flags, urinate or blow money out of their arses. Junyong's absurdist scenarios offer incisive criticism of nationalism, capitalism, greed and decadence. Zhang Xiaotao's Scar (2009), which draws more on 3D animation techniques, is particularly impressive in its exploration of the macro and micro, as the POV vision zooms across landscapes and delves deep down into the cellular level in gaming style, exploring a tangled environment, half reality, half hallucination. The work was diminished somewhat by an inaudible soundtrack.
With 21 works works in total, several approaching feature film length, it was not possible to view everything in its entirety. Perhaps a screening program would have been more beneficial for some works such as Total Eclipse (2010) by Gao ShiQiang. Presented in black and white, shot at high-frame rates and beautifully lit for noirish effect, it presents a series of poetic metaphors. Factory workers and their boss, standing in a circle, gradually begin to laugh and float up towards the ceiling. Another man stands laughing amidst his possessions, strewn about in total chaos, but then all the objects gracefully return to their rightful order—the reversed footage revealing that the man himself caused the disorder in the first place. Perhaps the most potent image is of a group of people 'rock climbing' into the corner of a low-ceilinged room, clustered like a hive of bees. This image resonates for Arena: A Post Boom Beijing as a whole— an exhibition which offers an intriguing insight into a nation that is in a complex process of renegotiating the individual's aspiration within the collective pursuit of national prosperity.
Arena: A Post Boom Beijing, curator Laurens Tan, Hazelhurst Regional Gallery and Arts Centre, NSW, Oct 16-Nov 28
china sightings
gail priest: mu:screen, uts gallery : RT 98


Scrap Car Costessey are a reliable team of scrap car collectors working out of Costessey, Norfolk. Scrap cars can be a real problem and can cause you untold misery, if you have a scrap vehicle and it is on the road it will still need to be taxed. You don't need to give someone money to get rid of your old scrap car. We will tow your old car for free!
As well as offering a completely free collection, we are also currently able to offer cash for scrap cars in Costessey depending upon the weight of the vehicle!
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car scrappage schemes may at first seem like a great idea. However, you might be surprised to learn that this discount is not available on every car. You can't buy any car, you have to be told a list of possible cars (this changes with each manufacturer). This is frustrating for a lot of people as the cars in the scrappage scheme may not be to your liking.
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Contact lenses can aid to improve the eyesight of the person same as that of your regular eyeglass can actually be. The major difference from it to the eyeglass is actually the way where you wear it. But, sometimes it all depends to the brand of the contact lenses that you are going to buy compared to the regular glasses. This can be due to the fact that they are more convenient to use. Due to the number contact lenses in the market, you will have difficulty in finding for the best pair since you will have a lot of choices that is available.
This process is usually done to ensure that your car performs better and that all its parts have been aligned. These services require a lot of effort by the service provider to ensure that the results are excellent. It order to see your vehicle performing and looking better, you need to engage one of the various companies that provide the services in the market.
It is required that you consider the following factors when looking for an auto detailing service provider. Your vehicle needs a lot of care and when looking for a service provider, it is necessary to ensure that you research on the internet for the best. You need to ensure that the company is well known to provide genuine and quality services to ensure that your car functions in the right way.
When a person is looking for a swimming pool maintenance company it would be essential that one gets the best company. Therefore a person should have some qualities that would guide them into getting the best company. A good company should have excellent properties that will make a person get attracted to them. There are many different properties to check out, following them would enable a person get the best services that you could be anticipating. Since there are a lot of companies out there, one should go for the best. With these guidelines it is possible to get the best company. The following are some of the factors to consider.
Setting a trip can be a daunting task especially if you have never done it before. You can hire a tour firm to do that for you. The tour agency will play be play a big part in the outcome of your tour. It is therefore good to be very wise on the choice you make. The following tips can help you find the appropriate tour firm in India. You need to prepare well when setting a trip. It is good to write down the necessities of the trip. It will be easier making a budget with such a plan. Ensure you make a reasonable budget to avoid spending a lot of money. It is good to do away with things that are not very crucial.


I hope the chilly weather is treating you well. I have nothing to complain about, living in a southern state, we don't have much of a cold weather around here. Although, as soon as the holiday times roll around, I don't care if it's 80 degrees outside, I just crank up the AC and make a big batch of hot chocolate. Hot chocolate is not just warm and comforting for your body, it's soul-warming too, especially around the holidays.
To make it interesting for the taste buds, it's important to mix things up a bit. You may want to try something with caramel flavors, hazelnut flavors, different types of chocolate, and you can't forget whipped cream and marshmallows. At night, adults should enjoy a special cup of spiked hot cocoa while curled up on a couch. And to make things completely crazy-awesome, throw some ice cream in your hot chocolate!
Make sure to look through all these heartwarming hot chocolate recipes by clicking "Launch Gallery" above and below. If you want to PIN the whole collection for later, feel free to pin the collage image above!


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The Icarus Voice Alert System (VAS) will trigger a "Don Oxygen Mask" alert at a pilot-settable altitude between 7,000 feet and 15,000 feet. It is a small 3 oz module that you can install in seconds between your headset and the headset panel jack.
Using a solid-state, silicon pressure sensor, VAS will detect the depressurization of your cabin and alert you long before you are affected by hypoxia.
A fail-safe feature ensures that your headset will always be connected to your radios.
To demonstrate the cabin pressure audio warning, click on the video to the left. During a cabin pressure leak, the Cabin Rate of Climb goes positive, the PSI differential needle moves down as the cabin pressure decreases, while the ALT needle shows the altitude increasing. In this scenario, the pilot has set the trigger altitude to 11,000 ft. When the cabin altitude reaches 11,000 ft, the warning message "Don Oxygen Mask" is triggered long before there is any possibility of hypoxia affecting the pilot.
Click the White Button To Hear the Current Cabin Altitude Message.
Pressing a button on the VAS module will annunciate the current cabin altitude as a check of the sensor and all circuitry. Below is a picture of the bottom of the VAS Unit with the white control button marked.


to stay up to date with our latest news and events.
International strategic partnerships are central to the Foundation's work in cross-cultural diplomacy and a number of these long-term relationships are with US cultural leaders. During October 2018, H.E. Huda I. Alkhamis-Kanoo visited New York and met with some of the Foundation's collaborators, discussing news and taking time to plan for future work together. During the trip, she met with Russell Granet, Acting President and CEO of the Lincoln Center, Alvaro Domingo, Vice President of Operalia, Sir Clive Gillinson, Executive and Artistic Director of Carnegie Hall, renowned Emirati composer Mohammed Fairouz, Greg Scholl, Executive Director of Jazz at the Lincoln Centre, and Kara Medoff Barnett, Executive Director of American Ballet Theater.


Yeah, this was the view as I drove by the AAC on the way home from Houston on Mother's Day. Despite being down two games to the *shuddering violently* Red Wings, I was going to keep on singing my Journey song (psst, Army of Dad, it is an old 80s band and the song is Don't Stop Believin'). But, alas, I'm not thinking I have that much faith left these days. *sigh* Yeah, Subby, Bite me.
Love you too, AoM. Glad to see the Stars win one - they are too good to be swept, even if I would have been happy to have had the Wings do so. Still looking forward to the Ode to the Wings on your site, even though you never formally accepted my bet.


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The Latest Published Research from the SEI
As part of an ongoing effort to keep you informed about our latest work, I would like to let you know about some recently published SEI technical reports and notes. These reports highlight the latest work of SEI technologists in assuring software reliability, future architectures, Agile software teams, insider threat, and HTML5. This post includes a listing of each report, author(s), and links where the published reports can be accessed on the SEI website....
Performance of Compiler-Assisted Memory Safety Checking
August 25, 2014 • SEI Blog
David Keaton
According to a 2013 report examining 25 years of vulnerabilities (from 1998 to 2012), buffer overflow causes 14 percent of software security vulnerabilities and 35 percent of critical vulnerabilities, making it the leading cause of software security vulnerabilities overall. As of July 2014, the TIOBE index indicates that the C programming language, which is the language most commonly associated with buffer overflows, is the most popular language with 17.1 percent of the market. Embedded systems,...
Systems Engineering in Defense and Non-Defense Industries
Joseph Elm
In today's systems it's very hard to know where systems end and software begins. Software performs an integrating function in many systems, often serving as the glue interconnecting other system elements. We also find that many of the problems in software systems have their roots in systems engineering, which is an interdisciplinary field that focuses on how to design and manage complex systems over their life cycles. For that reason, staff at the Carnegie Mellon...
Principles of Big Data Systems: You Can't Manage What You Don't Monitor
Ian Gorton
The term big data is a subject of much hype in both government and business today. Big data is variously the cause of all existing system problems and, simultaneously, the savior that will lead us to the innovative solutions and business insights of tomorrow. All this hype fuels predictions such as the one from IDC that the market for big data will reach $16.1 billion in 2014, growing six times faster than the overall information...
A Taxonomy for Managing Operational Cybersecurity Risk
August 4, 2014 • SEI Blog
James Cebula
Organizations are continually fending off cyberattacks in one form or another. The 2014 Verizon Data Breach Investigations Report, which included contributions from SEI researchers, tagged 2013 as "the year of the retailer breach." According to the report, 2013 also witnessed "a transition from geopolitical attacks to large-scale attacks on payment card systems." To illustrate the trend, the report outlines a 12-month chronology of attacks, including a January "watering hole" attack on the Council on Foreign...
The Changing Relationship of Systems and Software in Satellites: A Case Study
Sarah Sheard
The role of software within systems has fundamentally changed over the past 50 years. Software's role has changed both on mission-critical DoD systems, such as fighter aircraft and surveillance equipment, and on commercial products, such as telephones and cars. Software has become not only the brain of most systems, but the backbone of their functionality. Acquisition processes must acknowledge this new reality and adapt. This blog posting, the second in a series about the relationship...
HTML5 for Mobile Software Applications at the Edge
Grace Lewis
Many warfighters and first responders operate at what we call "the tactical edge," where users are constrained by limited communication connectivity, storage availability, processing power, and battery life. In these environments, onboard sensors are used to capture data on behalf of mobile applications to perform tasks such as face recognition, speech recognition, natural language translation, and situational awareness. These applications then rely on network interfaces to send the data to nearby servers or the cloud...
Four Principles of Engineering Scalable, Big Data Software Systems
In earlier posts on big data, I have written about how long-held design approaches for software systems simply don't work as we build larger, scalable big data systems. Examples of design factors that must be addressed for success at scale include the need to handle the ever-present failures that occur at scale, assure the necessary levels of availability and responsiveness, and devise optimizations that drive down costs. Of course, the required application functionality and engineering...


I know intellectually that my soul is one with God as a wave is one with the ocean – and yet when I cannot experience that oneness (which is most of the time), then I feel that I am separated from God. I think this is the experience of most people. It's easy to say we are one with God, but do we really experience that oneness?


text:
Q: Const qualifier in getter method Why getters and setters needs const qualifier? Ok, I suppose the one reason for setter method is to prevent value from changing in method body that allows make less errors. Looks not very reasonable for me, is that only for this reason?
And I'm totally confused why I need it in getter method?
class turbo
{
    int i = 10;
    public:
    void setI(const int value) {i=value}
    int getI()  const {return i;}
}

A: Suppose I have a variable of type const turbo. Then I'm allowed to call methods marked const and no others. Furthermore I can be sure that a call to such a method is not going to change the state of the turbo instance. This is because member functions marked const cannot change member variables or call non-const methods on them.
So, in general, getters can be const as they don't change the object's state. Setters should not be const. Better still, avoid writing setters at all since it can be difficult to control the internal consistency of an object and tend to complicate multithreaded programming: set up as much as you can in the constructor.
This gives you a remarkable improvement in program stability. That's why C++ programmers strive for as much const-correctness as possible.
(Of course C++ allows you to remove these benefits using const_cast and mutable but this should be done with caution).

A: Any const function promises not to modify any member variables of that class. For getters, that is trivial, but the following reason is why they must be const:
For other const functions in that class, they may only use const functions as well.
If you had some function:
int turbo::foo() const
{
    int i = getI();
    return 2 * i;
}

If your function getI() was not also const, the compiler would tell you that turbo::getI() was non-const and therefore foo() could not be const.

A: If you qualify an argument as being constant, it shows the caller that you won't change that argument inside the function. In your case this is useless as int value makes a copy anyway. But if you use a reference int& value or a pointer int* value it makes sense to declare it const as otherwise a caller might assume that value will be modified.
The const-qualifier after the argument list has a different meaning.
Functions that are declared const can be called on a const object of that type, while functions that don't have that qualifier cannot.
So if you instantiate an object of class turbo like const turbo x; then it's possible to only call const member functions on it. That means non-modifying member functions, which in your case is only int getI() const; while void setI(const int); cannot be called as it would modify the object which is declared to be const.
So arguments that are either references or pointers because a copy would be too expensive are declared const if they are not modified by the function to signal the caller that they can assume that no modifications will be made to that object.
While functions that are declared to be const are used for operations that don't modify the object on which they are called as for example getters.

A: So that you can use it with constant objects and also tells the compiler that the object is not altered

A: const qualifiers for input-arguments and return-values are required only if you pass/return them by reference. Taking your code, for example, const qualifiers would be required if it looked like this:
class turbo
{
private:
    int i;
public:
    void setI(const int& value) {i=value;}
    const int& getI() const {return i;}
};

It usually becomes handy when dealing with types that are "more complicated" than int.
A const qualifier on a member function is meant to prevent you (or other users) from changing member variables inside the function, if that was your original intention when you designed the class.

A: Between these two function declarations
void setI(const int value) {i=value}
int getI()  const {return i;}

there is a big difference.
The first function declaration is equivalent to
void setI( int value);

and the both declare the same one function. To these functions the argument is passed by value that is the unctions use a copy of an argument. The original argument itself will not be changed.
The only difference between these two function declarations is that inside the body of the first function the parameter is considered as a local constant variable. However there is no any greate vsense for these function definitions.
As for the getter then the qualifier const means that the function may not change data members of the object. You may not to write for example
int getI()  const {return ++i;}

That is the qualifier const says that the state of the object will not be changed after a function call.

A: Made some modification to demonstrate several conditions for setter/getter:
class turbo
{
public:
    void setI(int value) { i = value; }                // #1
    void setS(const std::string& value) { s = value; } // #2
    int getI() const { return i; }                     // #3
    const std::string& getS1() const { return s; }     // #4
    std::string getS2() const { return s + "blah"; }   // #5

private:
    int i = 10;
    std::string s;
}

const for member function signature means this getter can not modify it's owner (i.e. the object).
const before argument means the argument can not be changed inside the function.

For setter:
if argument is native type, no need for const, just pass by value and it's fine. (#1)
if argument is complicate class, use const reference to avoid unnecessary temporary object construction. (#2)
you can't add const for member function signature, because you are modifying the object! (#1, #2)

For getter:
if return type is native, just return it, no need const. (#3)
if return type is complicate class, there are 2 cases:

*

*you are returning a member, and you are providing the value only for looking, then you should add const and return by reference. (#4)

*you are returning some calculated and temporary result using your member, then you should return by value, and no need for const (because there there are no available reference for such result) (#5)
you should add const for member function signature, because the getter means to provide some value, not to modify the object. (#4, #5)

In practice, you would pass your object by const reference whenever possible, in such case the caller using your object can only use const member function you designed, in which case it's very possible for your getters
// the function is called display, so it theoretically should not modify t
// so we pass t by const reference, therefore t can only call const member function
void display(const turbo& t)
{
    std::string s = t.getS2();
    // blahblah
}

redpajama_set_name: RedPajamaStackExchange


text:
Mark R. Etherton, MD, PhD
Hwang Y-H, Kim Y-W, Kang D-H, Kim Y-S, and Liebeskind D. Impact of target arterial residual stenosis on outcome following endovascular revascularization. Stroke. 2016.
The advent of efficacious endovascular thrombectomy (EVT) for ischemic stroke secondary to acute occlusion of proximal anterior circulation vessels has allowed for the characterization of occlusive lesions. Understanding the underlying pathology of these occlusive lesions could be informative for predicting the success of the endovascular intervention as well as prognostication of clinical outcomes.
In the present study, Hwang et al. characterized residual stenosis post EVT at the site of the arterial occlusive lesion in an Asian population with acute ischemic stroke secondary to middle cerebral artery M1 occlusion. In this population with a high prevalence of intracranial atherosclerotic disease (ICAD), the authors' hypothesis was that residual stenosis, as defined by the Arterial Occlusive Lesion (AOL) scale, would be sequelae of in situ thrombo-occlusion (IST) with underlying ICAD. Angiographic imaging during EVT and follow up imaging (MR or CT angiography) 5 to 7 days post-procedure was performed to assess stenosis.
Out of 163 patients enrolled in the study, 74 patients (45.5%) had partial recanalization (AOL 2) on post-procedural angiography. Rates of favorable clinical outcomes at 3 months (defined as mRS of 2 or less) did not differ between the group with partial (AOL 2) versus complete recanalization (AOL 3). Forty patients (24.5%) in the study were determined to have IST as their stroke etiology, and all of these patients had residual stenosis present on the post-procedural angiogram (AOL 2). 27% of patients with partial recanalization compared to only 1.1% of patients with complete recanalization developed instant reocclusion during EVT. In addition, those patients with partial recanalization during EVT were more likely to have worse stenosis or occlusion (10.8% vs 1.1%) on follow-up imaging. On multivariable regression analysis, delayed reocclusion in patients with partial recanalization was predicted by excellent baseline collateral-flow (OR 8.477; 95%CI 1.169-61.464) and neurological worsening post-procedure (OR 10.388; 95%CI 1.287-83.876).
It is important to note that the authors used a radiologic-based approach to identify IST that was based on the presence and severity (>50%) of residual stenosis and the presence of ICAD. The majority of patients with IST determined using these criteria were classified as partial recanalization with residual stenosis exceeding 50% on follow-up angiography. This study suggests that IST is a common cause of large vessel occlusion in an Asian population and that residual stenosis is associated with increased risk of reocclusion and early neurologic deterioration. Going forward, work should include controlling for endovascular approach utilized and characterizing the pathologic correlates for radiographic-determined IST.
June 21st, 2016|treatment|0 Comments


text:
Q: Disable booting sound in MacOs 10.14.3 Mojave + Win10 bootcamp How can i disable booting mac sound via using bootcamp?
I tried to use sudo nvram SystemAudioVolume=%01, but it worked only once. After the second reboot sound appeared again. I don't have a special checkbox which can disable the sound in "sound settings" in this version of MacOS. How can i setup the system to block this sound? Either MacOS or Windows10 (via bootcamp) boot?

A: I'm running Mojave 12.6.1 and I can disable the startup sound in sound settings:
https://i.stack.imgur.com/pP2nw.png
There might be a similar option for you.


text:
using UnityEngine;
using System.Collections;
using UnityEngine.UI;

public class AchievementPopup : MonoBehaviour {

    public Image[] images;

    Vector3 from;
    Vector2 to;

    public void Process(int achievement)
    {
        foreach (Image image in images)
        {
            image.enabled = false;
        }

        images[achievement].enabled = true;
        StartCoroutine(ProcessCoroutine());
    }

    IEnumerator ProcessCoroutine()
    {
        from = transform.position;
        to = transform.position;
        to.y = -to.y;
        float time = 1.337f;
        float timeLeft = time;
        while (timeLeft > 0) {
            timeLeft -= Time.deltaTime;
            transform.position = Vector3.Lerp(to, from, timeLeft / time);
            yield return null;
        }
        yield return new WaitForSeconds(1.337f);
        timeLeft = time;
        while (timeLeft > 0)
        {
            timeLeft -= Time.deltaTime;
            transform.position = Vector3.Lerp(from, to, timeLeft / time);
            yield return null;
        }
    }
}


The six main lakes of the Ethiopian Central Rift Valley originally formed during the last ice Age as two large lakes, one of which embraced what are now Lake Ziway, Abiata, Shala, Langano, Abaya and Chamo are the major highlights discovered in this route. A visit to the cultural villages of the Konso (UNESCO site) and Dorze are also included.
The Itinerary can easily be amended to include/exclude more days to fit our clients' schedules and special interests.
Day 6: Drive to Hawassa, en route stop for Wondogent, an area of very green and famous for its natural hot springs. Swim in the pool out of the hot spring and discover around.
The following route will take you to the well-known bird sites, Awash National Park, Bale mountains national park and the central rift valley lakes regions.
Day 2: Drive from Addis to Awash en-route stop at Debre Zeit for Birding in the Crater Lakes and after lunch in one of the resorts with beautiful views drive to Awash. .
Day 3: Full day game drives and birding at Awash National park.
Day 7: Drive from Goba to Harenna forest via Seneti plateau. Full day birding and game viewing on the Senati plateau and Harenna forest of the Bale Mountains.
Day 9: Drive to Hawassa and start birding on the shore of the Lake Hawassa as soon as you arrive.
When visiting the Omo Valley, planning the dates of the tour with the market days of the different villages, most particularly with those at Dimeka and Key Afer are important and make your tour more interesting. We will help you in designing the programs to fit with market days of each tribal village taking place at different days of the week. Please contact us for discussion and detail tour program.
Visitors who want to take photos of the ethnic groups in the Omo are expected to pay for each photograph.
The Itinerary can easily be adjusted to fit our clients' schedules and special interests. Furthermore, it could easily be extended to take in some other famous parks such as the Bale Mountain national park or to combine with other routes.
Day 5: Drive from Jinka to Turmi via Key Afar and Dimeke. if the day Tuesday or Saturday you will have a chance to visit Dimeka Market. If the day is Thursday you will have a chance to visit Key Afer Market.


For schools we developed two simple systems that allow displaying PDF based content or HTML based content on machines running minimal Linux systems.
The two projects (impressive-display and surf-display) are available via Debian GNU/Linux. They register themselves as X11 session managers (x-session-manager).
For displaying PDF content, please checkout the impressive-display package in Debian.
For displaying HTML content, please checkout the surf-display package in Debian.
More documentation is available under /usr/share/doc/<package> of the two packages.


We would love to organise your special day whether it is for work or that different anniversary celebration. Whatever your budget we can make the day special.
We can collect your special guests from another airfield either by light aircraft or by helicopter. Contact Alan on 0800 085 0196 to discuss your needs or click here to email us using the form on our Contact page.


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Outplacement services provided by DST people are designed to provide downsizing organisations the support to help employees through the transition to new jobs and help them re-orient to the job market. DST people Outplacement services can either be delivered through individual one-on-one sessions or in a group format.
What Outplacement services do DST people deliver?
Managing workforce transition and outplacement is a delicate and complex process.
Step 1. Debriefing session with the leaving employee following notice.
Step 2. Workshops to develop employee self-awareness & employment market understanding.
Step 3. Workshops to develop personal sales documents and build job search tools and techniques.
Step 4. One on one resume development and confidence building.
Step 5. Follow up: One month review and tailored on going support.


Malta is a small island country in the Mediterranean Sea that lies south of Sicily, Italy. Although Malta is small, it has some of the richest history and some of the world's most ancient standing buildings, making it a great place for history buffs to visit! Being in the Mediterranean Sea, Malta's climate is that of other Mediterranean countries. Winters are wet and windy and summers are hot and dry. There is so much to do and see while visiting Malta. Being an island, there are tons of water activities for the whole family from sailing to scuba diving. The ancient capital of Mdina, also known as the Silent City, is one of Malta's finest jewels, boasting architecture, history and a quality cup of coffee with splendid views. Mdina gets very peaceful and romantic in the evenings.


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