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Tamara Drónova –en ruso, Тамара Дронова– (nacida como Tamara Balabolina, Moscú, 13 de agosto de 1993) es una deportista rusa que compite en ciclismo en la modalidades de pista, especialista en la prueba de persecución por equipos, y ruta.

En los Juegos Europeos de Minsk 2019 obtuvo una medalla de bronce en la prueba de persecución individual. Ganó dos medallas de plata en el Campeonato Europeo de Ciclismo en Pista, en los años 2015 y 2014

Medallero internacional

Palmarés
2015
 3.ª en el Campeonato de Rusia Contrarreloj

2020
 3.ª en el Campeonato de Rusia Contrarreloj
 Gran Premio Anatolia Central

2021
 Campeonato de Rusia Contrarreloj
 3.ª en el Campeonato de Rusia en Ruta
 Gran Premio Erciyes

Referencias

Enlaces externos

Ciclistas de pista de Rusia
Ciclistas de Rusia en los Juegos Olímpicos de Tokio 2020
Nacidos en Moscú


In this section of the site you'll find some of the greatest tailgating recipes ever invented. Many of the recipes are from inventive fans just like you and some are straight out of The Commissioner's Cookbook.
Do you have one to share? Send it to The Commissioner's Chef along with an anecdote about your favorite Tailgating Experience. Until the next tailgate...Here's to Good Friends, Good Food, and Please Pass the BBQ Sauce! Be sure to check back frequently as we'll be updating the site with new recipes every week!
What type of recipe are you looking for??


With inspiring quotes, compelling photos and telling details, Freedman offers a well-documented account of the 1955-56, year long Montgomery Alabama bus boycott. Telling the story of the many leaders, the many "ordinary" people, and the courage and determination it took to win this struggle for justice, makes a compelling and fascinating book. Honor Book for Older Children, 2007.


Do you have missing or loose teeth? Are you embarrassed to go to activities because your smile embarrasses you? Are you uncomfortable about having your picture taken and don't know how to correct the problem? Dentures may be the answer you are looking for.
We offer several dentures options to help you regain your smile. We have full dentures, partial dentures, dental implant supported dentures and partial dentures. We want you to look and feel good, and we can help make that happen.
We can supply you with traditional dentures, which are one way to make sure you have a full smile. Full dentures create an entire set of false teeth that is secured in your mouth with dentures adhesive.
Partial dentures are held in your mouth like a retainer. These partial dentures are attached to dental crowns on each side of the dentures apparatus. They, too, will make your mouth look feel complete and full.
Another method for full or partial dentures is to have them attach to dental implants. Dental implants are made of a metal rod that is inserted into your jawbone to replace a missing tooth. This rod fuses with the jawbone and a dental crown is placed on top of each dental implant. The dentures or partial dentures are then secured to the dental crown topped dental implants. This is the sturdiest, most long-lasting option.
If you are trying to decide what to do if you have missing or loose teeth, we are happy to partner with you to make the best choice possible for you. If dentures or partial dentures sound like a good option for you, we are happy to supply them for you. We want to make sure you feel good about your smile, so we do all we can to give you the dental options and education and suggestions that will help. When it comes to your smile, we care!
You can contact our Wheat Ridge dental office here or give us a call at 303-422-8748 to schedule an appointment today!


The central bank has raised the farm loan disbursement target to Tk21,800 crore for the fiscal year 2018-19 (FY19), which is 6.8% higher than that of FY18.
Bangladesh Bank Deputy Governor SM Moniruzzaman announced the target while unveiling the agriculture and rural credit policy for the current fiscal year at a meeting at the central bank headquarters in Dhaka on Wednesday.
"We have set the target considering the increasing demand for agriculture and rural credit with a view to mitigating income inequality of the poor and accelerating sustainable economic development of the country," he said.
Some new concepts have been added to the current agricultural credit policy to ensure national food security and to develop a sustainable agricultural credit system.
About 60% of the credit would have to be disbursed in the crop sector, and 10% for fisheries and livestock sector, while the rest of the credit would have to be disbursed for agriculture machinery, poverty reduction, farming on floating systems, turkey farming and other sectors, Moniruzzaman further said.
"As highest rate of interest for all types of credit have been set at 9% from July 1, the highest interest for agriculture and rural credit will also be 9%," he added.
According to the central banks' target, state-owned commercial and specialized banks have to disburse Tk9,810 crore by June 2019, while private commercial and foreign commercial banks have to disburse Tk11,990 crore as agriculture credit.
In the last fiscal year, the banks have disbursed an agricultural loan of Tk21,393 crore, which was 104.87% of the target of Tk20,400 crore, according to the latest data unveiled by Bangladesh Bank.
According to the central bank data, a total of 3,962,508 farmers received agriculture and rural credit in 2017-18, of whom 1,576,137 were women borrowers who received Tk6,309.58 crore.


text:
import os
import os.path
import logging

# Global debug flag
if os.environ.get('SERVER_SOFTWARE', '').lower().startswith('development'):
	DEBUG = Debug = debug = True
	logging.debug("[*] Debug info activated")
else:
	DEBUG = Debug = debug = False
	logging.debug("[*] Debug info deactivated")

# libraries path for sys.path
# libraries_path = os.path.join(os.path.dirname(__file__), "libraries")

# Template path for template loader
template_path = os.path.join(os.path.realpath('.'), "views")
template_autoescape = True

# XSRF cookie
xsrf_cookies = True
cookie_secret = "--LifeLogger--"

# page cache
# 全局开启缓存的页面缓存的选项
# 因为缓存调用还有问题,暂时不启用缓存
page_cache = False

redpajama_set_name: RedPajamaGithub


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text:
Vittoria Soddu
tag: Cagliari
Born in Italy in 1986, Vittoria Soddu has trained and lived between the UK, the Netherlands (DAI, 2011) and Belgium. Hailing from an island in the centre of the Mediterranean, she strives to find new ways to observe and understand cultural heritage and peculiar communities, establishing projects that favour a collaborative approach at the core of their creative process. She has been interested for some time in working around notions of "community building". In the past, her research has focused on the politics of food and its relation to rituals. Both The Season of the artichoke (2008) and Biscotti di Vento (2011) used food as a metaphor to reveal social dynamics within a structured community, and at the same time, more intimately, they spoke of her identity as a Sardinian artist.
Her first film Back Hill - tales from a parish house (2014) was completed in the context of the Brussels based collective SIC Sound Image Culture workstation. Developed as a portrait of the Italian community of St. Peter's in London, it sits between the documentary form and the essay film. It was presented at Beursschouwburg (Brussels), Cinema OFFoff (Ghent), Villa Romana (Firenze), Teatro Massimo (Cagliari).
Later projects include the audio visual installation La Voce del Tamburo (2015), commissioned by MEOC Aggius Museum of Anthropology and the publication MicroBook - tracing the evolution of an urban network (2016), a collection of interviews and archive images investigating the 10 years activity of the Brussels based cooperative MicroMarchè, for which she acted as chief editor. In 2017, in collaboration with musician Pete Truin and The Trad Academy Sea Shanty Choir, she completed the 2 year research project Salt in the veins : an audio-visual journey into the musical tradition of sea shanties and its legacy, presented at Wilton's Music Hall in London.
Soddu's exploration of the audiovisual tool has progressively moved towards the sonic element and its often underestimated subversive language, attracted by its power to upturn our perception.
In 2018 she has returned to Sardinia for the residency SPIME, promoted by MAN Museo d'Arte Provincia di Nuoro. She activated a collaboration with a group of local speleologists for the project Spelynx - an immersive audiovisual installation that simulates the experience of discovery of the underworld of a cave through light and sound, animating the landscape by questioning our perception of space and orientation.
Her most recent project and solo show EDEN, held at Chora Spazio Espositivo, Sassari, further explored the interaction between sound and sculpture in a suspended utopian garden, inspired by the Scottish song "To people who have gardens", questioning the nature of green spaces as public, collective and private properties.
http://vsoddu.tumblr.com

redpajama_set_name: RedPajamaCommonCrawl


16 Apr. It was a double bill between Weymouth and Dorchester last night. Dorchester B overcame losing a point by default on board 1 to draw with current champions Weymouth A. In fact, with the score at 1.5-1.5, Nick Pool (Dorchester) was a pawn up against Ronnie Burton on board 2 in the last game to finish. But Ronnie used all his experience to force a draw and hence square the match. Weymouth are =3rd, but Dorchester B & Ringwood also on 7 points, each has 2 matches in hand.
In the other match, Dorchester C needed to win against Weymouth B to have a chance of winning Div 2, but fell just short and lost 1.5-2.5 in a hard fought encounter. Malcolm Steevens and John Kelly were the winners for Weymouth, and Geoff Searing secured a point for Dorchester on board 1. On board 3, Chris Leeson (Weymouth) drew with Julian Cherryson. Weymouth B finished the season strongly with 2 wins from their final 2 matches. So it all comes down to the final match (16 Apr) in what has become an exciting season in County Div 2. A draw would make Wimborne B champions against Purbeck A. Purbeck A though need to win well. Congratulations to all teams in County Div 2 for making it so competitive and interesting. Good luck to both teams this Weds at Merley.


This really nice apartment like loft, is located in Palermo Soho, one of Buenos Aires' most interesting neighborhoods. The apartment has one big room, wooden floors, large windows, good lighting with a balcony with an open space. Modern design it creates a warm and relaxing atmosphere with a queen-size bed, and big closets in the bedroom area. It has a complete bathroom with bathtub and shower and a fully equipped kitchen.
Balcony- Deck-Patio covered . TV Cable ( 30 channells), Internet Hi speed, CD player, cellular phone, A/C, heating system, towels, bed linens.
Located in Palermo Soho, you are in one of Buenos Aires' most interesting neighborhoods. it is also filled with great shopping, sidewalk cafes and tempting restaurants. 2 blocks from Av Santa Fe, where there are several subway stations and bus stops providing access to many other parts of the city. Here, you are also just a few blocks from Plaza Serrano.
Included: utilities, basic cellular phone, internet, TV cable, building taxes are paid by owner.


In a profession which deals with something as delicate as life, there is no room for errors. However, though we try so hard to commit them, there are still some mistakes that nurses commit especially when they are new in the profession.
Despite all those we've learned in Pharmacology subjects in nursing school, there are still instances when we get confused and commit errors in administering medications, even those who have been in the profession in a long time commit errors. Studies have shown that administration errors can account for anywhere up to 32% of medication errors. However, though these might be common, nurses should know that they are not acceptable as some medication errors may be deadly.
To prevent committing such error, it is important that you double, triple and quadruple-checking meds before administering them. Do not rush when administering meds. And if you have questions, check the chart and ask the doctor.
We have heard our clinical instructors emphasize the importance of body mechanics over and over in nursing school, but admit it, we didn't really pay attention to it, nor observed it in the clinical area. New nurses are especially susceptible injuries since they may feel flustered, are trying to hurry to one of the other dozens of tasks they must perform, or believe they are invulnerable to injury. Nurses must remember that there is a right way — and many wrong ways — to perform several procedures. For example, in patient transfer, lift with your legs and never your back and don't hesitate to get a friend to help you. Raise everything you can to a working height for you and use the available tools, like gait belts, transfer boards and lift equipment.
Some may neglect to realize this, but documentation is very important in nursing care. Those actions not documented weren't done. Since clear and complete documentation takes practice and time before it becomes automatic, so a new nurse is especially susceptible to these mistakes.
To address this issue, there are policies about how to chart depending on your facility. Just be sure to study these policies and make them second nature.
Yup, no man is an island. This especially applies to nurses and other members of the healthcare team. We need one another to achieve quality care. However, there are instances when we call for help without the right information on hand, which should not be the case as you should never call for the assistance of a physician without already having all of the patient's relevant information ready. A nurse needs to be primed with the information so that he/she can get assistance quickly and effectively. If not, you risk making yourself look like an amateur in front of other nurses, doctors, as well as your patient.
You don't really have the luxury of time in the clinical area. Every single minute counts and each task must be performed on time that is why prioritization is very much important. However, this may come a bit challenging for those new in the profession. Prioritizing tasks is a learned skill that must be practiced and developed through experience.
In prioritizing patient's needs, the ABCs: airway, breathing and circulation must always take precedence. Nurse must also learn to delegate properly since assistants (who are there to help you with basic tasks) could become overwhelmed and unable to perform their tasks adequately if delegation is not done correctly. First days of working as a nurse can be very challenging. Everybody had been there, even the most experienced ones. There may be struggles and a whole lot of confusion. However, with enough practice and experience, we can overcome this.
What's important is that we value the importance of delivering quality care to patients and are eager to learn the ways on how best to achieve it.
Odegoke Omotayo I believe nurses usually make mistakes during medication but, something is missing from these young & new nurses, 'IS THERE ANY MEDICATION ROUND AGAIN IN THE WARD'? Because in few years back, during ward medication, about two to three NRS would be on ground to check patients case note b4 dispensing it, re check the patient name & re verify the name of the drug & Patient name and finally serve the drug. I have the believe that, all these are being practice during the Nursing training in the clinical experience especially in diploma level which should be impacted unto upcoming ones especially the Nursing student in training.
PROUDLY, NURSING PRACTICE IS UNIQUE ESPECIALLY AMONG ALL OTHER H/WORKER . LET'S keep this uniqueness & uphold the glory.
I'm Chief Matron in South West Nigeria. G8PROFESSION!
Absolutely, mostly nurses create these types of problems and then faces many difficulties. This post is very informative and those nurses make these types of mistakes so they must learn in this post. If someone wants to get any assistance about medical education so they can also contact me.
that's true as a nurse and nursing essay help provider.I 100% agree with you.These mistakes commonly new nurses make but they overcome their mistakes and learn from their mistake and within no time they become the professional nurse.i appreciate that you pointed out the mistakes and shared with us.Now those who are a new nurse can read mistakes and avoid doing those mistakes again and again.
Some non-customary nursing parts include clinical scientists, caseworkers, and clinical contacts. Work of RNs is becoming speedier than the normal for all occupations and per the Department of Labor, Bureau of Labor Statistics is anticipated to rise 26% from 2010 to 2020. On the off chance that you are made a beeline for school and searching for a vocation decision or thinking about a profession change, here is our pick of the best seven motivation to wind up noticeably a medical attendant.
If any one wants to be a good nurse then she should read this these five common mistakes because these mistakes will guide them properly that how to start this profession without doing any mistake. Nurses play a very important role in every hospital that's why they should pay attention to their duties.
The nurse's first duty is to guarantee the security of the patient. From that point onward, the medical nurse needs to report his/mistake. Continuously take after office approach, yet more than likely, you will report the mistake initially to the doctor and second to the medical caretaker chief/charge nurture. An occurrence report/documentation of the mistake will likewise be finished.
The nurse's first duty is to make sure the care of the patient. Then, the nurse necessities to report his/error. Permanently follow facility course of action, but further, than likely, you will report the inaccuracy first to the doctor and second to the nurse director/care nurse. A case report/documentation of the inaccuracy will also need to be accomplished.
Glad to read mistakes that new nurses make.


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We are open to suggestions and comments, as we are constantly looking forward to improving our website. If you know how we can make our content more relevant to you or just want to share your thoughts, we are here for you.


A headline asks, ''What if There Is No Cure for Health Care's Ills?'' (Week in Review, Sept. 10). But the obvious solution is the approach that almost every other industrialized country has used to attain universal coverage: single-payer national health insurance.
We already have rationing of health care in America. Those who can afford it, get it; those who can't, don't. We should discard two myths: that the market is the solution and that we can get to universal coverage through incremental change.
Although special interests like the insurance and pharmaceutical industries will vigorously oppose it, single-payer national health insurance -- in effect, Medicare for all -- would bring affordable health care to every American.


Blessings my Royal Platinum Family, I love late night creating. We had just designed our first commercial video, for Platinum Ruby Hair, check it out, and tell me what you think. We love feedback. Remember, you can create anything you desire, when you put your faith, mind, heart, and energy to it with action. If you would like to shop and get your Platinum Ruby Hair bundles, Mink and Faux Lashes, along with bags, and clothes.


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Tag: simple minds
Get This!, Kraut-y
July 17, 2019 July 17, 2019 Craig McAllister
I met Charlie Burchill once. Tiny and comically round, he looked like a pantomime pirate who was missing his beard; the tight black jeans, pointy boots and dazzling white blousy shirt that probably cost more than my monthly mortgage repayment brought to mind Captain Pugwash on shore leave. While my 5ft 8″ towered over him I was instantly enlightened as to why that white Gretsch Falcon he was fond of playing in those Simple Minds videos always looked ridiculously over-sized on him.
I'm being a wee bit cruel though; Charlie was very smiley, extremely chatty and, in the same way that he and Jim Kerr had moments earlier been gushing over the Roxy and Bowie 7″s that filled the Wurlitzer we happened to be leaning against, he listened enthusiastically to my stories of how Simple Minds had played a major part in my formative years.
I came to Simple Minds around the time of Glittering Prize and Promised You A Miracle – the New Gold Dream album is an incredibly-produced LP – stick it on at some point and lose yourself in the textures – and while it was Don't You Forget About Me that brought them to the attention of my mum and the rest of the world, it was I Travel that melted my mind to the possibilities of music.
By the time I'd first heard I Travel, the band had just played Live Aid and were chronologically closer to Belfast Child, Mandela Day, Biko and the posturing, political pap that disenfranchised an entire generation of fans who'd been by the band's side since the days of the Mars Bar in Glasgow, the knowing Chelsea Girl single and the Empires And Dance album. The New Gold Dream album though had me scampering backwards to see what else the band had done, and it was on a scratched copy of Empires And Dance from Irvine library that I first encountered I Travel. Listening to it as I type, I'm still waiting on a skip that doesn't happen. Europe has a lang….oblem. It's funny how music lodges in your head like that, eh?
I Travel was the first track on that album and signalled a brave new direction for the band. Its clattering, steam-powered industrial funk is propulsive, futuristic (still) and highly infectious. It's the sound of industrial Victorian Glasgow breaking free of its chains, the sound of the shipyard welders' blow torches set to scorch, the sound of Donna Summer's I Feel Love as played by art punks from the south side of Glasgow.
Simple Minds – I Travel (extended)
https://philspector.files.wordpress.com/2019/07/12-i-travel-extended-bonus-track.mp3
I have two copies of I Travel. There's the original, 12″ version, bought on a rare outing to the Virgin Megastore on Union Street, back in the days when folk still smoked behind the counter and you darenae go up the stairs to the second floor on account of all the scary-looking punks and their brothel creepers blocking the way. I also have a reissued 7″ found whilst rummaging through a box of Gene Pitney and Sonia 7″s in a Lake District charity shop. I was scared to leave it there, unsure of what fate would befall it should I put it back. The 12″ is a well-played piece of vinyl. It was often the soundtrack to drunken teenage stupidity, stuck on at filling-loosening volume as soon as someone's parents had reversed out the drive for a week in Wales. It's a great record.
How did they write it? It's not a guitar tune in the traditional sense. You won't find the chords on your favourite tab site. Wee Charlie adds occasional textures here and there, and there's a fantastic blink-and-you'll-miss-it Nile Rodgers-esque flourish midway through, but the song's genesis must lie somewhere between Derek Forbes' groovy never-ending bass, the sequenced synths and that head-nodding, rattling rhythm. Imagine being there while the band jammed it, working all its nuances out?! Played live, it's a cracker;
With the benefit of acquired musical knowledge, it's clear that Simple Minds had been listening to the right sort of European records. Kerr's baritone echoes the more esoteric moments from Bowie's Berlin phase and he sings of culture; decadence and pleasure towns, tragedies, luxuries, statues, parks, galleries. He might even be singing of Glasgow – the lyric certainly ticks all of that subject matter.
Strip everything else away – the 8 note keyboard motif, Burchill's splashes of colour and Jim Kerr's vocal and you have a record that sounds like its made by machines with soul. A bit like Kraftwerk, I suppose. In fact, if it popped up vocal-free on 6 Music tomorrow, you could be forgiven for assuming its retro-futurism was the latest Underworld release.
Expertly glued together by John Leckie, I Travel hints at a group of musicians growing into themselves. Hindsight shows that Simple Minds went on something of an imperial run around this time. Imagine if I'd never looked back and instead fell for the stadium shows and the hey hey hey heys. There's an axis-turning thought.
Tagged i travel, simple minds19 Comments
Kraut-y, Live!
Kerr In The Community
November 5, 2014 Craig McAllister
My formative teenage years were soundtracked by a holy trinity of 12"s – Talking Heads' Slippery People, New Order's Blue Monday and Simple Minds' I Travel. Before the age of trying to get into pubs, my pals and I would spend a few hours each Saturday at Andy's house, where his more liberal parents allowed us to play snooker in their loft and listen to music whilst hiding our grimaces from one another as we drained a couple of cans of razorblade-sharp Holsten Pils, before negotiating the loft ladder down into reality and the mazy walk home to our unsuspecting parents. They were great times.
Fast forward the best part of 30 years. Did I (shhhhh! – don't tell anyone!) want to go to a one-off, top-secret, intimate Simple Minds gig? It was guest-list only and my name was on it. The address would be given to me on the day of the concert itself. My teenage self would've spontaneously combusted at the thrill of it all. Nowadays, after their years of bloated bombast and my changing musical tastes, Simple Minds mean much less to me, but of course I was desperate to go. My lips were sealed.
Now. Plenty of bands have done intimate gigs. There's something fantastic about seeing the big acts up close and personal, even if you're maybe really not that close. The stadium bands like Foo Fighters sometimes pop up in the smallest of places at the shortest of notice. Arena bands downsize now and again to play club gigs – I've seen Bob Dylan do his 'club' gig in the Barrowlands, close enough to see the sweat drip from the brim of his cowboy hat and onto his keyboard during Ballad Of A Thin Man. I nearly saw Prince do his after-show thing in The Garage many years ago, but a huge, house-sized American bouncer counting loudly along the line stopped a few folk in front of me and my pals, sliced the line with a chop of his arm and loudly declared, "Anyone behind this line will not get in. Repeat. Anyone behind this line will not get in." We were behind the line. We did not get in. Repeat, we did not get in. I've seen Blur, Radiohead, Manic Street Preachers….countless big names in King Tuts, but these weren't intimate gigs as we know them – the venue was the venue because that's the number of tickets these bands could sell at the time.
Simple Minds were playing in a 3rd floor tenement flat in the west end of Glasgow. A nice flat. A big flat. But still a flat, with neighbours to the side and below. It belonged to John Dingwall, hot shot music writer at the Daily Record and Sunday Mail. The guest list was comprised, said John, of 48 of the coolest people on 'the scene'. Evidently there was some mistake. At the very best, I had somehow wangled my way onto the list of cool at number 48, but I was there. A venue-sized PA was manhandled up three flights of winding stairs and the living room transformed into what can truly be described as an intimate gig. It had all the makings of a decent New Year's party with added volume.
The band (Jim, Charlie and Jim's brother Mark on additional guitar) played only 5 songs, but what a thrill! They were here to promote Big Music, their new album out on the same day. The gig was being filmed for broadcast on the Record's website. They could've chosen to play 5 tracks from the album and scarpered. But no. We got a bite-sized version of a stadium show instead. It was incredible.
"When we first started out, there was a club in London called Dingwall's," explains Jim Kerr. "We aspired to play there but we never got the chance. Now the club is gone, but we're still here, finally playing Dingwall's! We used to play lots of covers at first because people didn't want to hear our own songs. So we'll start tonight with a cover."
And off they went, playing their way through a stripped-back version of The Doors' Riders On The Storm, surprising myself at least, as I expected maybe a Bowie or an Iggy or a Roxy cover. Charlie on the left is firing off little lead acoustic solos. Mark on the right is keeping the rhythm. Jim centre 'stage' is loving it. He's pulling off the rock star poses. Leaning into the mic. Pointing to people sitting on the floor. Playing as if he's doing a normal gig at some enormodome stadium in the mid-west of America. He doesn't know how to do anything different. He can make a stadium seem like a living room, but he can make a living room seem like a stadium. A true performer.
A weird thing happens during the second song. The band are playing Alive And Kicking when I get a Pavlovian rush; a knotted stomach, an intense feeling of guilt. The 14 year old me told his mum he was going to buy the new Simple Minds single with his paper money. His mum told him that he spent far too much money on records and, no, he wouldn't be buying it. 14 year old me bought it anyway, which I'd have gotten away with if I hadn't actually played the bloody record.
As soon as the first bars wafted from my bedroom and downstairs, my mother was up like a shot, mad that I had "wasted" even more money on vinyl. Every time after, when I pulled the record out to play, I got a rush of guilt and I always played the record at a low volume, so as not to incur the wrath of my mum. And here I am, 30 years later, feeling that same rush of guilt. It's the knotted stomach all over again. I half expect my mother to barge into the crowded room and demand the band stops playing. It's really weird. I actually find myself laughing nervously to no-one during the second verse. "You lift me u-up…ho!" Weird. Much later in the evening I find myself face to face with Jim and I tell him the story. I get a pat on the shoulder and a wee hug for telling him. I'll never hear that song in the same way anymore.
Introducing the one new track played, Honest Town, Jim has genuine tears in his eyes. It's a song about life and death, about close ones dying – Both Jim and Mark's mum and Charlie's dad passed away during the recording of the album. It's the one sombre moment of the night. As soon as the last notes of the track have faded, the band are into Don't You Forget About Me, played with all the energy and passion of the glory years Simple Minds. More memories of spinning the vinyl on my wee record player come flooding back. If anyone had told me when I bought it that 30 years later…etc etc…blah blah blah.
We get an option for the last track – "What d'you want to hear?" asks Jim. And in the split silence before the audience make their suggestions I manage to blurt out "I Travel!" It's an acoustic gig, I have no chance of that and Jim knows it, arching an eyebrow and fixing me with an unspoken grin. "You can have a Bowie song or 'The American'," he replies. The wee crowd votes unanimously for The American and the Minds are off and running for the last time, playing a stripped back version of a song I never expected to hear performed.
Regardless of your thoughts on Simple Minds, they are still a great, great band. What a unique gig to have had the fortune to be at.
Here's 3 of the post Krauty, pre-stadium Simple Minds. Still sounding as fresh as the day they were committed to wax.
The American (Original Version);
https://philspector.files.wordpress.com/2014/11/02-the-american.mp3
I Travel (12″ Version);
Love Song (Album Version);
https://philspector.files.wordpress.com/2014/11/05-love-song.mp3
There's Wally!
I'm at the back in the orange jumper. Ooft. That wide angle really accentuates the man boobs. I'm off out for a run…
(last photo (c) Daily Record)
Tagged live at dingwall's, simple minds4 Comments
Get This!, Hard-to-find, Kraut-y
'Head Music
February 18, 2014 Craig McAllister
Radiohead play both types of music – arty and farty, and they're still the band by which all others must be measured. In comparison, everyone else just doesn't sound like they're really trying, do they?
Radiohead haven't stood still. The left-field rock double whammy of The Bends and its more adventurous follow-up, OK Computer would've been the pinnacle of many a band's career – lesser bands would maybe even have stopped after such an explosive one-two. Other bands (hello Coldplay, we're looking at you) took lowest common denominator Radiohead and churned out the Asda price version, to much ringing of cash registers around the world. How could you improve on two great albums? Not many could. For some people, Radiohead couldn't either. But you know better…..
I like the experimental, itchy, claustrophobic Radiohead. The static bursts. The skittering drums. The are-they-guitars-or-are-they-keyboards? The cut 'n paste approach to the vocals. The way everything is wrapped, womb-like in its own wee Radiohead bubble. Recent Radiohead has been all about the sonic textures. The ebbing and flowing. The peaks and troughs. The grooves rather than the grunge.
These Are My Twisted Words was put up for free download a few years back on the band's website. I'm sure you've heard it;
https://philspector.files.wordpress.com/2014/02/these-are-my-twisted-words.mp3
From the warped intro via the chiming, falling-down-a-hole guitar riff that surfs across the top, the whole thing jerks and twitches away like Thom Yorke's gammy eye whilst maintaining an actual tune – the perfect amalgamation of all that makes Radiohead great. Lots of people moan that the 'Heid have lost their way with a tune. Sit them down and play them this. The only way it could be better was if it was three times the length.
Where I End And You Begin is all swirling ambience and one chord groove. Hip hop drums and phat bass. But still slightly wonky and weird. It's on Hail To The Thief, a quiet contender for title of Best Radiohead Album. I'm sure you've heard it too;
https://philspector.files.wordpress.com/2014/02/06-where-i-end-and-you-begin-the-sk.mp3
Post-rock Radiohead remind me an awful lot of pre-rock Simple Minds, back when they were releasing arty, Eastern European influenced glacial soundscapes. Equal parts post-punk snottiness and Bowie metallic art punk with a Kraftwerk man machine-like muscle, this was not music to punch fists in the air to. It was cerebral yet danceable. It aimed for basslines rather than headlines. Perfect headphone music. Mandela Day and Belfast Child were somewhere in Western Europe, a million light years away.
Here's a couple of early Simple Minds tracks. Note the influence on mid-period Radiohead. They won't deny it.
Theme For Great Cities
https://philspector.files.wordpress.com/2014/02/01-theme-for-great-cities.mp3
This Earth That You Walk Upon
https://philspector.files.wordpress.com/2014/02/11-this-earth-that-you-walk-upon-in.mp3
Have you got Polyfauna, the Radiohead app yet? What d'you think?
Tagged polyfauna, radiohead, simple minds


Some people think painting a house or business is an easy task. The exceptional painting services that we provide requires an intimate knowledge of various techniques and principles as well as years of experience working with different types of commercial and residential projects. We bring a wealth of painting knowledge to the table and you will notice this right from the start. We look forward to taking on your project and to giving you the best possible outcome at a more than fair price!


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Erica Thigpen – Seed Academy
Originally an American based dancer and teacher, Erica is trained in ballet, contemporary, jazz, musical theatre, tap, hip hop and more. While growing up she took part in a range of competitions and dance conventions around Texas, earning titles such as National Championship Soloist in 2014 and 2015 and more. Erica has also danced with organisations such as Dancers Against Cancer, where she grew very passionate about dancing for a cause and a purpose.
In Australia, Erica earned her Certificate IV in Ministry at Hillsong College. She then completed a year of dance training at Australian College of Physical Education, and is now studying a Bachelor of Health Sciences. Teaching at 3 schools around Sydney, Erica is passionate about teaching her students to not only grow to be strong technical dancers, but to also believe in themselves and build on their creativity and work ethic.


Congrats to our giveaway contest winner @arizonaboy_r1👏👏👏 check our stories to see the draw.
Which colourway would you choose if you won the giveaway contest in the previous post??
Edit: contest closed💥congrats to our giveaway contest winner @arizonaboy_r1👏👏👏 check our highlights to see the draw.
O n e l o v e.


I've never shared a link to a sermon podcast on my site. But this talk on discouragement, disappointment, and depression is the very best teaching on mental health I have EVER heard from a local church.
Jay West at Kingwood Church did an outstanding job. I've never been more proud to call him my pastor.
Holiness without wholeness is legalism. I want to be a church where people bring their problems with them.
If your pancreas can break in such a way that you have to take insulin, your brain can break in such a way that you have to take an anti-depressant. So take your medicine…and pray!
It's okay not to be OK, but it's not okay to stay that way.
PLEASE don't miss this message, "Overcomer, Part 1".


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Death by Broderbund
Author: Chris HudakChris Hudak
It's 1914, and your friend Tyler has summoned you to join him on a transcontinental train departing from Paris. Hitches in your reunion plans begin when you're late to the station and have to board by running alongside with a motorcycle and hopping on, unticketed. But then your trouble worsens when you discover your friend has been murdered in his compartment. Think fast - somebody is a killer, and you've got precious few minutes before a snoopy clerk finds you alone with the body and you get 20-to-life.
The Last Express is an animated mystery game with several hooks. First, the story takes place aboard a classic Orient Express-style train, with no room to maneuver and many, many rooms in which a murderer can hide. Not knowing what or who lies behind any door keeps you on teeth-grinding edge.
Second, Broderbund eschews clinical polygons or cheesy full-motion video in favor of hand-drawn period animation. The alternating first-, second-, and third-person points of view imbue scenes with a lifelikeness both elegant and creepy. Passengers murmur conversations, watching you with unreadable expressions; conductors walk briskly up to you, sticking their faces right up to yours, only to say "Excuse me" and continue on their way. Through it all, you can hear the constant rattle and clank of the endless rails carrying you toward the end of the line - for the train and, perhaps, for you.
The final hook - and this is the killer - is that all interactions are real time and simultaneous: while you're busy fretting over your next brilliant move, more than 30 major characters are walking and talking around you with their own agendas. Failure to act can be just as damning as doing something actively stupid.
The Last Express is a good game and a great piece of mood. Seemingly random first-person angles, especially early on, can be a little disorienting, but overall the game has a cozy-yet-tense whodunit feel, and easily compressed animation means you get more gameplay, instead of three compact discs' worth of crappy full-mo-video acting.
If you're a mystery fan, book a ticket aboard The Last Express - just read all the newspapers, trust no one, and be sure to keep your compartment door locked.
The Last Express for PC and Mac: US$39. Broderbund: +1 (415) 382 4700, or check out the Web site.
Street Cred is a monthly feature of Wired magazine.


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Q: $\nabla$, $\cdot \nabla$, $\nabla \cdot$, $\nabla^2$ - What do they do? I'm trying to teach myself Smoothed Particle Hydrodynamics. Unfortunately, my background is in electronics, so the Navier Stokes equations are somewhat alien to me, as is vector calculus. The video I'm watching is trying to break the equations down into something grokkable by expanding some of the operators into their identities.
Navier Stokes: $\rho\left[\dfrac{\delta v}{\delta t}+v\cdot\nabla v\right] = \rho g-\nabla p+\mu \nabla^2v$
Mass Continuity: $\rho(\nabla\cdot v)=0$
Convective Acceleration: $v\cdot\nabla v = \left[v_x\dfrac{\delta v_x}{\delta x},v_y\dfrac{\delta v_y}{\delta y},v_z\dfrac{\delta v_z}{\delta z}\right]$
Pressure Gradient: $\nabla p \equiv \left[\dfrac{\delta p}{\delta x},\dfrac{\delta p}{\delta y},\dfrac{\delta p}{\delta z}\right]$
Pressure: $p = k( \rho - \rho_0)$
Diffusion: $\nabla^2v\equiv\left[\nabla^2v_x,\nabla^2v_y,\nabla^2v_z\right]\nabla^2v_x\equiv\dfrac{\delta^2v_x}{\delta x^2} + \dfrac{\delta^2v_y}{\delta y^2} + \dfrac{\delta^2v_z}{\delta z^2}$
Mass Continuity: $\rho(\nabla\cdot v)=0$
Mass Continuity Solution: $\nabla\cdot v = \left(\dfrac{\delta v_x}{\delta x} + \dfrac{\delta v_y}{\delta y} + \dfrac{\delta v_z}{\delta z}\right) = 0$
This to me raises a few questions:

*

*$\nabla$ seems, from this, to simply be the derivative of each component of the vector.

*So $\mathbf{v}\cdot\nabla$ seems to be the product of those derivatives and $\mathbf{v}$

*But then $\nabla^2$ seems to be the sum of the second derivatives of the components, which doesn't seem right.

*Finally, there's a $\nabla\cdot$ operator which seems to be the sum of the components of the first derivatives.

So in the absense of an explanation, I'm somewhat confused as to how the $\nabla$, $\cdot \nabla$, $\nabla \cdot$, and $\nabla^2$ operators actually work?

Comments have both suggested I removed the screenshots and advised me of mistakes on the slides, I also don't want to trust my transposition too much. So, I've converted the bulk of the question to MathJax and included the slides for reference.
Reference Slide 1:

Reference Slide 2:

A: Treat the $\nabla$ symbol as a vector with the components $(\partial_x,\partial_y,\partial_z)$ and all of this will follow naturally:
$$\nabla\phi=(\partial_x\phi,\partial_y\phi,\partial_z\phi)$$
$$\nabla^2\phi=(\nabla\cdot\nabla)\phi=\partial_x^2\phi+\partial_y^2\phi + \partial_z^2\phi$$
$$\nabla\cdot\mathbf{a}=\partial_xa_x+\partial_ya_y+\partial_za_z$$

redpajama_set_name: RedPajamaStackExchange


A new original musical for the whole family!
With innovative sustainable practices, a group of super kids team up to try and save the local restaurant from being bought out by Vespertine Industries, a company making a profit by exploiting the planet's resources. Learning to upcycle and recycle in fun cool ways, the Upcyclers invent, remake, salvage, and prove no task is too small to make a BIG difference!
While The Zoo Theatre Co. has produced original plays and musicals geared towards teens and adults, the creators, Daniel Sugimoto and Julia Lisa have an extensive background of children's theatre with over 6 years (and counting) experience writing, performing, and teaching children's theatre around Los Angeles. Their new original musical Upcyclers empowers kids to challenge the norms to create a greener life. Come play, sing, dance, and create the world YOU want to live in with The Upcyclers!
Carnival Of Love - Donate Clothes to shows!
The Zoo Theatre Company has always championed sustainable living and producing. All of its shows used recycled materials for props, sets, equipment, and costumes. Its focus with the UPCYCLERS INITIATIVE is to educate and inspire younger generations to explore the world of creation by discovering cool new ways to reutilize and repurpose what some call 'hammy downs' or 'trash'. Upcycling has been proven to generate financial savings as well as reduce one's ecological impression.
For great ideas daily on how best to Upcycle all materials you can visit our Pinterest page or Instagram account.


Economic Growth Center is located at Yale University. Yale University comprises three major academic components: Yale College (the undergraduate program), the Graduate School of Arts and Sciences, and ten professional schools. Abstracts, and in some case, full text of the selected Center discussion papers are available for download from the organization's web site.


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The film academy and American Cinematheque celebrate Satyajit Ray
By By Susan King
Aug 19, 2013 | 4:18 PM
The restored "Pather Panchali," the first in Indian filmmaker Satyajit Ray's "The Apu Trilogy," screens Sept. 6 at the Samuel Goldwyn Theatre. (American Cinemahteque)
The Academy of Motion Picture Arts and Sciences and the American Cinematheque are celebrating the Academy Film Archive's restoration of 19 films directed by the seminal Indian filmmaker Satyajit Ray (1921-92).
On Sept. 6 at its Samuel Goldwyn Theatre, the academy is screening the first two installments of the filmmaker's landmark early work, "The Apu Trilogy": the award-winning 1955 "Pather Panchali," a haunting drama about a young boy named Apu who lives with his poverty-stricken Brahmin family in rural Bengal; and 1956's "Aparajito, which continues the story of Apu and his family.
The final film in the trilogy -- 1959's "Apur Sansar," which revolves around Apu's adulthood -- screens Sept. 9.
PHOTOS: Hollywood backlot moments
Guests scheduled at the screenings include actress Sharmila Tagore from "Apur Sansar" and Dilip Basu, founding director of the Satyajit Ray Film and Study Center at UC Santa Cruz.
The Cinematheque's "Satyajit Ray Restored" festival begins at the Aero Theatre in Santa Monica on Sept. 12 and continues through Oct. 21. The retrospective begins with 1964's "Charulata" and 1958's "The Music Room."
Other Ray films scheduled for the Aero include "The Big City," "The Expedition," "The Goddess," "The Hero," "The Coward," "The Holy Man," "The Chess Players" and "The Elephant God."
PHOTOS: Behind-the-scenes Classic Hollywood
In addition to the Cinematheque, the academy has partnered with the British Film Institute and the Austrian Film Museum to screen the restored Ray films.
Ray received an honorary Oscar on March 30, 1992, "in recognition of his rare mastery of the art of motion pictures and of his profound humanitarian outlook, which has had an indelible influence on filmmakers and audiences throughout the world."
Audrey Hepburn presented the honorary Oscar in what would be her final appearance at the Academy Awards. Ray was too ill to receive the award in person and accepted it via live feed from his hospital room. He died less than a month later, on April 23, at age 70.
Jim Hirsch to step down as Sinfonietta CEO
Jennifer Hudson, David Otunga reach parenting agreement in Cook County case
Taika Waititi to direct Marvel's 'Thor 4'
My worst moment: Gina Torres and the Shakespearean gaffe
Tracy and Hepburn once made a romantic computer comedy
Guerrilla Disney film 'Escape From Tomorrow' headed to theaters
Are films like 'Paranoia' the start of a post-Snowden movie movement?
Chess Playing


Roy is a terror wight from my miniature figurine collection. One day I was searching the Internet for an appropriate illustration for the cover of Littlelot and the Real Monster. Roy happened to be on my desk, hanging out after an evening D&D game. He and a few other figurine monsters were eating cookies, which is what figurines do after a long game.
"Hey! I could do it," Roy said, munching a shortbread.
"I could pose for you. You take a picture. Look," and he held up his elbows like a coat hanger and grimaced, teeth full of crumbs.
Below, you'll find links to all the articles featuring Roy in chronological order. You can leave a message for him in the comments section.
Roy says he's going to autograph covers of Littlelot and the Real Monster and give them to his friends in the figurine drawer.
While signing book covers for his friends from the figurine drawer, Roy (front center) does a happy dance.


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AeroDelft's Phoenix rising as the world's first liquid-hydrogen aircraft
By Loz Blain
AeroDelft has revealed a one-third scale prototype of its Phoenix two-seater, which aims to be the world's first liquid hydrogen plane
AeroDelft
The Phoenix retro-fits a hydrogen energy storage system and fuel cell to the e-Genius electric glider
The full-size Phoenix will have an endurance up to 10 hours, and range up to 2,000 km on a full 10-kg tank of liquid hydrogen
A sleek and attractive electric glider design
The 1:3 scale prototype was revealed in an online presentation
Members of the 44-person AeroDelft team with the scale prototype
The prototype will fly first with battery power, then using gaseous hydrogen, and finally, toward the end of the year, with liquid hydrogen
The Phoenix prototype is aiming for a 500-km range and 7 hours of endurance on a kilogram of liquid hydrogen
The Greenliner would scale things up to a 19-seat liquid hydrogen-powered airliner
Greenliner
We've written plenty about hydrogen's potential as a transformative technology for green aviation; in gaseous form, hydrogen offers an energy density much higher than lithium batteries, and that offers a genuine path toward the decarbonization of short-to-medium range air travel.
But the biggest planes are the biggest emitters, and to eliminate emissions from long-range airliners, compressed gas hydrogen systems – which offer about half the range of an equivalent jet fuel powertrain – will never be able to do the trick. For that, we're going to need liquid hydrogen systems.
Liquid hydrogen systems can store upwards of three times the energy by weight of a gaseous system, meaning that a large-scale liquid hydrogen airliner could conceivably fly farther than today's fossil burners.
It's not quite that simple. Liquid hydrogen has terrific energy density by weight, but terrible density by volume, so you'd need to design your aircraft with significantly more fuel storage space and potentially deal with additional drag as a result. But it may be one of the only clean fuel technologies that can get zero-emission intercontinental airliners into mainstream use in the medium term.
All of which makes this pioneering work from AeroDelft very exciting indeed. A team of 44 students from TU Delft in the Netherlands has been beavering away on the "world's first liquid hydrogen fuel cell aircraft," and has now presented a 1/3-scale prototype that is scheduled for its first public flight this July.
The Phoenix will be a hydrogen-retrofitted version of the two-seat e-Genius electric glider, developed at the University of Stuttgart and first flown in 2011. The e-Genius has flown over 400 km (250 miles) in its record-breaking history on battery power alone. It can get around 1,000 km (620 miles) using a petrol-powered range extender. The full-sized Phoenix will carry 10 kg of liquid hydrogen, with an estimated range of 2,000 km (1,240 miles) and an endurance up to 10 hours in the air.
The one-third scale, remote-controlled prototype is not small; it's got a 5.7-m (around 19-ft) wingspan, weighs 50 kg (110 lb) and carries 1 kg (2.2 lb) of liquid hydrogen, enough for an estimated endurance around 7 hours and a range around 500 km (310 mi). The hydrogen is kept in a cryogenic tank at -253 °C (-423 °F), and warmed up to 0 °C (32 °F) using "a complex tubing system" before being run through a 1.5-kW fuel cell to charge a buffer battery that powers the electric propeller motor on the aircraft's tail.
The AeroDelft team plans to fly the Phoenix this July on battery power, then on gaseous hydrogen a few months later, and finally, somewhere around (Northern Hemisphere) Fall this year, the students will fit the liquid hydrogen system.
"Development of the liquid hydrogen system is going swimmingly," said Prototype Project Manager Sam Rutten. "We're ending the design phase. Liquid hydrogen is a very difficult thing to work with. For it to stay liquid, you need to cool it to around 20 Kelvin, very close to absolute zero. Our Propulsion team has developed a special tank, and also other support systems, which will allow us to fly with liquid hydrogen. We're already starting the production phase, the first steps have already been taken to construct this tank according to all the relevant certification."
The full-size two-seat Phoenix is also already being built, with a reveal scheduled for July. It should fly on gaseous hydrogen by summer 2022, and the first full-scale liquid hydrogen flight is planned for 2024. Both the prototype and the full-size Phoenix stand to set all kinds of records, but the project is also focused on advancing hydrogen aviation by working with certification boards to develop a framework within which a liquid hydrogen aircraft can be certified, identifying risks related to liquid hydrogen aviation and working out systems to help mitigate them.
Commercializing the Phoenix is not on the team's radar at this point, although it's happy to speak to anyone who'd like to take that on. AeroDelft does have plans for a larger scale aircraft though, including a liquid hydrogen airliner capable of flying 19 passengers plus pilots up to 925 km (570 mi), which it calls the Greenliner. There are technical mountains to climb with the Phoenix, however, before the Greenliner project gets too far along.
The Phoenix is a very exciting project in a field that has genuinely transformative potential. The world needs liquid hydrogen to advance in leaps and bounds if we're to eliminate the roughly 2 percent of global greenhouse gas emissions contributed by the aviation sector. It's terrific to see the Delft team making significant progress, and we look forward to following the Phoenix through the remainder of the project.
Check out the prototype launch presentation below.
Prototype Model Reveal
Source: AeroDelft via Robb Report
AircraftHydrogen AviationTechnical University of DelftHydrogenPrototypeNew Atlas AudioClimate Solutions: Aviation
Loz Blain
Loz has been one of our most versatile contributors since 2007, and has since proven himself as a photographer, videographer, presenter, producer and podcast engineer, as well as a senior features writer. Joining the team as a motorcycle specialist, he's covered just about everything for New Atlas, concentrating lately on eVTOLs, hydrogen, energy, aviation, audiovisual, weird stuff and things that go fast.
Peter Forte March 10, 2021 05:31 AM
Truly exciting developments!!
paul314 March 10, 2021 06:43 AM
Current airplane design is very much based on history and the needs of jet engines, so it will be interesting to see what they come up with.
Chris Coles March 10, 2021 08:21 AM
While not enjoying being seen as negative to any new thinking; as I see thing, liquid hydrogen will not succeed as a fuel. It is difficult to store, is incredibly dangerous, as anyone familiar with space rockets will know, hydrogen can be very explosive. Now add that every time flown, all the hydrogen gas will have to be drained off the aircraft, as even storing the aircraft outside will carry risks of leaks and resulting explosions. Then add, these uses will not be the occasional flight; a hydrogen leak on an active airfield will, almost certainly; close the airfield down until all gas has been dispersed . . . and checked to be so. While on paper a great idea, sadly, the use of hydrogen gas to replace more complex hydrocarbons will never become widespread . . . there are simply too many risks involved.
And to add, all such hydrogen storage involving liquid hydrogen will have, as we always see with rockets, substantial flows of gas being vented, as it is impossible to keep anything stored at - 253 Degrees C without a suitable system to allow excess gas flow caused by the gas stored boiling off to be continuously vented to the surrounding atmosphere.
buzzclick March 10, 2021 03:01 PM
If this energy storage system has merit, we will see it developed over the next decade, but what Chris Cole says about the pressures of storage tanks and having to keep them at near Kelvin temps will certainly be a huge challenge. It's like designing a battery from components in dynamite. There's little room for error and for heaven's sake be careful. Are you sure you want to try this?
Finding ways to produce hydrogen economically and effective ways to store it is key.
Derek Howe March 10, 2021 05:59 PM
This project won't go anywhere meaningful.
Arcticshade March 10, 2021 10:51 PM
And once again the armchair trolls have not read the article, thinking they know more than the engineers pioneering this technology.
Sorry for those clinging on to caveman mentality, the future is unfolding and the future sits right here in this very article.
Well done Aerodelft, this technology is going to be an absolute successor to the troubling fossil fueled industry plaguing the planet.
FB36 March 11, 2021 07:37 AM
Hydrogen is explosive & so it is really bad idea to use as fuel for any aircraft/vehicle!
Right solution for making all aircraft is the same for all heavy trucks, trains, ships etc:
Start producing biodiesel/biofuel from all kinds of waste/biomass/trash/sewage!
Arcticshade March 13, 2021 10:19 AM
@FB36
Yet Another TROLL not reading the article nor understanding Hydrogen Technology and how far Aerodelft have come.
Go sit with your fellow flat earth thinkers in a cave somwhere and ponder about the next stone age invention, we living in the 21 st century will continue to make heaps of progress on the latest technology. GO AERODELFT ! ! !
JimFox March 13, 2021 04:34 PM
Derek Howe has nothing to contribute, so why bother commenting?
FB36 has not read the article so his comment is worthless.
Arctic shade is 100% correct, well done.


In recent years, Russian cities and increasingly, cities around the globe have held a march of The Immortal Regiment on the 9th of May.
The Immortal Regiment consists of people of all ages carrying photos of loved ones and comrades who fought in, died in and in some cases lived through the Great Patriotic War, as the Second World War is called in Russia.
It is a sombre and deeply moving event as no one in Russia and for that matter hardly any Russians anywhere in the world were not related to someone or knew someone who was in the war.
Many heroic veterans are still alive but as the 21st century wears on, this reality is rapidly changing.
In the spirit of Victory Day, The Duran invites you to submit your own digitised photos of your loved ones, comrades or friends who fought in the war.
Because of the international nature of our readership, we invite you to submit pictures of those close to you from any allied country during the war. After all, it was a unique moment in history when the civilised world united against a common fascist enemy.
The generation who fought the war holds a special place in the hearts of millions. Nowhere is the end of the war commemorated more profoundly than in Russia. Russia's sacrifice in the war was supreme and this is why Russians today have an understanding of the true price of war that has been passed on through multiple generations.
To submit your photo please send The Duran a private message/direct message on our Facebook or Twitter pages. In addition to photos, feel free to include names, country served or other details you wish you share.
The full Digital Immortal Regiment will be published in The Duran on the 9th of May.


Psalm 24 ends a compelling series of Psalms beginning in Psalm 22. The Suffering Servant, Jesus Christ, mentioned standing before the bulls of Bashan and the dogs of the congregation. It informs us that Jesus Christ died on behalf of the world, but God heard His prayers and resurrected Him from the dead.
When we move into the eternal, there is one aspect of Jesus that we will worship: our holy King. When Christ came the first time, He appeared as a humble and meek human being. Though fully God, Jesus was also fully human, and He exhibited human weakness. He died, God rose Him from the dead, and He is the King of Kings and Lord of Lords.
Psalm 24 is the final moment of progression in the story of Christ. He will be the King for all of eternity. When one reads the end of the story in Revelation, a beautiful and powerful picture is presented to us. Jesus, with the host of heavenly armies behind Him ready for war, speaks and the armies of the world will be obliterated.
Seeing His eventual conquering of sin and evil should spur us forward. Our eyes should always be looking ahead focused on the Author and Finisher of our Faith. Jesus died for us. He is our Shepherd during this temporary life. He will be our eternal King.


text:
Opinion — Carbon — Climate
💬 Building Companies for the Net Zero Transition
My Climate Journey
August 25, 2021 . 4:00 PM
Photo by Ümit Yıldırım / Unsplash
Host: Jason Jacobs
Guest: Dominic Falcão | Founding Director | Deep Science Ventures
Category: 💬 Opinion
[4:06] "We build companies. […] We are outcomes focused and means-agnostic. So what that means for us is we work backwards from desired outcomes, to form a team to form intellectual property and technology and products and business models from scratch, based on what has failed and what has succeeded in the past. So instead of building things from university based intellectual property, or building up teams based on the idea of an individual, we're focused really on these […] overarching goals. And we're focused on areas such as pharmaceuticals, agriculture, energy, and computing, and specific outcomes inside of those. So my work is predominantly focused on climate. And inside of that the net zero transition. And so we have a number of intermediate outcomes inside of that that we're focused on and we build companies so as to address."
[5:35] "Inside of this idea of net zero transition for us, there are sort of five key requirements that we're currently working on. One is that we need to remediate historical emissions. Another is we need to reduce the emissions going into the future. A third is that we need to find a way of eliminating the sunk cost in the oil and gas industry and making it easy for that huge wealth of assets to move across […]. And a fifth is that we need to generate energy and create energy systems that are capable of holding renewable energy successfully. And so on each of those, we then have further intermediate more defined outcomes. So inside of remediating historic emissions, for example, we think that an example of an intermediate outcome is ambient temperature, ambient pressure, direct air capture, so removing carbon dioxide from the atmosphere at ambient temperature and pressure. And we think that in order to achieve a net zero transition overall, that's one of the set technologies required, going back up to that whole high level outcome of net zero transition."
[10:53] "In most European universities, spinning out is a thing you do once you realize you can't license your technology. And it's only done with less than 1% of the technology [being] formed at universities, and on the basis of the judgment of the academics you form them. That's the kind of extremely harsh pipeline you have to go through to get technology into the world today. What you don't have is a group of people who are thinking about from the beginning […] what would have to be true of that technology, in order for it to successfully scale in the world. That's a whole other set of parameters. It often would mean, for example, starting not with a technology that's novel or new, but instead starting on the basis of technologies that already exist, because that's the thing that makes best use of existing infrastructure, and has the least technical risk, because it's surrounded by things in the knowledge landscape that we already know. And then combining it with things that we also already know a lot about. […] And when we started DSV, it wasn't as a criticism of the way that translation of science exists, but rather as an acknowledgement of the fact that we serve different ends, which is to create companies not to license technologies, not to create novel technologies."
[13:04] "If you acknowledge that we need to remove carbon dioxide from the atmosphere, it's clear that there are certain constraints that need to be fulfilled for this to be an effective process. So there's no point removing carbon from the atmosphere, if you can't verify that it was removed. Moreover, there's no point removing carbon from the atmosphere if you can't measure how much carbon was removed. And there's no point removing it from the atmosphere, if it then is immediately put back into the atmosphere. So then you have transparency, verifiability and permanence as constraints around what you create here. That immediately means that we're looking largely at mechanical and chemical processes or biological processes that have some kind of micro level of verification, or where you can measure the outcomes."
[13:46] "What we realize too, is that there's no point doing this if you have to burn loads of natural gas, or produce loads of CO2 and do it. So if your process emits as much CO2 as it captures is pointless. So it has to work with renewables, it's another constraint. And ideally, it uses as little renewable as possible, because renewable energy is going to be a major cost input in almost every case. Now, if you keep following these constraints, you can see, if you want to use renewable electricity, and you want to use as little as possible, then probably the greatest loss of efficiency, you're going to find is in heating or cooling, increasing pressure or reducing pressure, because these are really energy intensive. And so now we get into the realm of hypothesis."
[14:24] "One hypothesis is that one of the most efficient possible processes for removing carbon from the atmosphere is to do so at ambient temperature and ambient pressure. Other constraints include not having to use rare earth or rare materials in the production of your thing, being able to use supply chains that already exist, and so on. So now you've got a set of constraints around which you can hypothesize potential combinations of technologies."
[14:48] "One of the first things you'll do if you're doing this is to think about what processes already exist that fulfill some of these criteria. So one of the processes we looked at was the way biology separates carbon dioxide from the atmosphere. So every time you breathe in, you separate carbon dioxide from air. And every time you breathe out, you have a higher concentration of carbon dioxide in the air that you breathe out than the air that you breathe in, which means we must be concentrating quite efficiently. And we're also doing what must be close to ambient temperature and pressure. It turns out on further investigation that there is an enzyme in the human body, which does this extremely efficiently […]. And so we built a company […] inspired by this biological mechanism."
[30:10] "We live and work in an economy which doesn't value the same goods that we need to value in order to have an effective transition to a net zero, or a healthy planetary system. If the economy that existed valued biodiversity properly and valued clean air properly, then the companies that we formed would have no problem whatsoever. But we have these kinds of broader structural issues."
[39:03] "I would love to think about how we can better coordinate climate, venture capital and climate R&D to make sure that there is less replication, so there's better shared information. Because I think unlike in other sectors, because we work as part of these complex embedded supply chains, the returns to us collaborating and succeeding together are much greater, there's not so much of a zero sum game as there is for example in software, where one company can take all. In this case if I capture carbon, I need someone else to verify I've captured it. I need someone else to monetize that. I need someone else to create a marketplace in which I can sell it."
Rating: ⚡⚡⚡
🎙 Full Episode: Apple | Spotify (Original Title: "Dominic Falcão, Founding Director of Deep Science Ventures")
🕰 43 min | 🗓 08/23/2021
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text:
#ifndef COMMON_IMPL_HH
#define COMMON_IMPL_HH

#include <iterator>
#include <algorithm>
#include <ostream>
#include <fstream>
#include <stdexcept>
#include <sys/time.h>

template<typename T>
void
create_binary_tree(NHNode *root, Binary_tree<T> &tree,
                   typename Binary_tree<T>::vid_t ext)
{
    if (root->children == 0)
        return;

    char *left_label = root->children->node->label;
    char *right_label = root->children->next->node->label;
    double left_length = root->children->node->branchLength;
    double right_length = root->children->next->node->branchLength;
    tree.add_children(ext,
                      left_length < 0 ? T(0) : T(left_length),
                      right_length < 0 ? T(0) : T(right_length),
                      left_label == 0 ? "" : left_label,
                      right_label == 0 ? "" : right_label);

    create_binary_tree(root->children->node, tree, tree.left(ext));
    create_binary_tree(root->children->next->node, tree, tree.right(ext));
}

template<typename T>
void
create_gene_species_map(const Binary_tree<T> &species_tree,
                        const Binary_tree<T> &gene_tree,
                        std::string map_filename,
                        std::vector<typename Binary_tree<T>::vid_t> &sigma)
{
    using namespace std;
    typedef typename Binary_tree<T>::vid_t vid_t;

    vector<string> map_file_content;

    ifstream map_file(map_filename.c_str());
    copy(istream_iterator<string>(map_file), istream_iterator<string>(),
         back_inserter(map_file_content));

    /* Make sure there are even number of strings in map file. */
    if (map_file_content.size() == 0 || map_file_content.size() % 2 != 0)
        {
            throw logic_error("error reading map file.");
        }

    /* Create a map from gene name to species name. */
    map<string, string> str_sigma;
    for (unsigned i = 0; i < map_file_content.size(); i += 2)
        str_sigma[map_file_content[i]] = map_file_content[i+1];

    /* Create the final map called sigma mapping vid_t to vid_t */
    for (vid_t v = 0; v <= gene_tree.last(); ++v)
        {
            if (!gene_tree.is_leaf(v))
                continue;

            string gene_label = gene_tree.label(v);
            string species_label = str_sigma[gene_label];
            if (species_label == "")
                {
                    string message =
                        "gene label '" + gene_label + "' "
                        "is missing in map file.";
                    throw logic_error(message);
                }
            if (species_tree[species_label] == Binary_tree<T>::NONE)
                {
                    string message =
                        "species label '" + species_label + "' "
                        "which occurs in map file "
                        "does not exist in species tree.";
                    throw logic_error(message);
                }
            sigma[v] = species_tree[species_label];
        }
}

template<typename T>
void
output_subtree(std::ostream &out, const Binary_tree<T> &tree,
               typename Binary_tree<T>::vid_t subtree)
{
    if (tree.is_leaf(subtree))
        {
            out << subtree << "_" << tree.label(subtree);
            return;
        }

    out << "(";
    output_subtree(out, tree, tree.left(subtree));
    out << ",";
    output_subtree(out, tree, tree.right(subtree));
    out << ")" << subtree << "_" << tree.label(subtree);
}

template<typename T>
void
get_postorder_numbering(const Binary_tree<T> &tree,
                        std::vector<typename Binary_tree<T>::vid_t> &numbering)
{
    typedef typename Binary_tree<T>::vid_t vid_t;

    numbering.resize(tree.size());

    unsigned i = 0;
    for (vid_t u = tree.postorder_begin();
         u != tree.NONE;
         u = tree.postorder_next(u))
        {
            numbering[u] = i;

            ++i;
        }
}

template<typename T>
std::ostream &
operator<<(std::ostream &out, const Binary_tree<T> &tree)
{
    output_subtree(out, tree, 0);
    return out;
}

template <class RandomNumberGenerator>
unsigned
init_rand(RandomNumberGenerator &engine)
{
    /*
     * Seed the random number generator.
     */
    timeval tv;
    gettimeofday(&tv, 0);
    unsigned seed = tv.tv_sec * 1000000 + tv.tv_usec;
    engine.seed(seed);
    return seed;
}

template <class RandomNumberGenerator>
unsigned
init_rand(RandomNumberGenerator &engine, unsigned seed)
{
    /*
     * Seed the random number generator.
     */
    engine.seed(seed);
    return seed;
}

template<typename T>
void compute_lambda(const Binary_tree<T> &S,
                    const Binary_tree<T> &G,
                    const std::vector<typename Binary_tree<T>::vid_t> &sigma,
                    const boost::dynamic_bitset<> &transfer_edges,
                    std::vector<typename Binary_tree<T>::vid_t> &lambda,
                    bool dated_stree = false)
{
    typedef Binary_tree<T> Tree_type;
    typedef typename Tree_type::vid_t vid_t;

    lambda.resize(G.size());
    for (vid_t u = G.postorder_begin();
         u != Tree_type::NONE;
         u = G.postorder_next(u))
        {
            /* Take care of gene tree leaves and continue. */
            if (G.is_leaf(u))
                {
                    lambda[u] = sigma[u];
                    continue;
                }

            vid_t v = G.left(u);
            vid_t w = G.right(u);

            if (!transfer_edges[v] && !transfer_edges[w])
                {
                    lambda[u] = S.lca(lambda[w], lambda[v]);
                }
            else if (dated_stree)
                {
                    if (transfer_edges[v])
                        {
                            if (S.time(lambda[w]) < S.time(lambda[v]))
                                {
                                    lambda[u] = lambda[w];
                                }
                            else
                                {
                                    vid_t x = lambda[w];
                                    while (S.time(S.parent(x)) > S.time(lambda[v]))
                                        {
                                            x = S.parent(x);
                                        }
                                    lambda[u] = x;
                                }
                        }
                    else // w is the transferred vertex
                        {
                            if (S.time(lambda[v]) < S.time(lambda[w]))
                                {
                                    lambda[u] = lambda[v];
                                }
                            else
                                {
                                    vid_t x = lambda[v];
                                    while (S.time(S.parent(x)) > S.time(lambda[w]))
                                        {
                                            x = S.parent(x);
                                        }
                                    lambda[u] = x;
                                }
                        }
                }
            else // not using dated species tree and u is a transfer vertex
                {
                    if (transfer_edges[v])
                        {
                            lambda[u] = lambda[w];
                        }
                    else
                        {
                            lambda[u] = lambda[v];
                        }
                }
        }
}

template<typename T>
int count_losses(const Binary_tree<T> &S,
                 const Binary_tree<T> &G,
                 const std::vector<typename Binary_tree<T>::vid_t> &sigma,
                 const boost::dynamic_bitset<> &transfer_edges,
                 bool dated_stree = false)
{
    typedef Binary_tree<T> Tree_type;
    typedef typename Binary_tree<T>::vid_t vid_t;

    // Compute lambda
    std::vector<vid_t> lambda;
    compute_lambda(S, G, sigma, transfer_edges, lambda, dated_stree);

    // For each non-transfer edge (u, v) in G, count the number of
    // speciations that we pass from lambda(u) to lambda(v).  A loss
    // is also incurred if u is a duplication and lambda(u) !=
    // lambda(v).
    int losses = 0;
    for (vid_t u = 1; u < G.size(); ++u)
        {
            vid_t p = G.parent(u);
            if (lambda[p] == lambda[u])
                continue;

            if (transfer_edges[u] && !dated_stree)
                continue;

            if (transfer_edges[u] && dated_stree)
                {
                    vid_t x = S.parent(lambda[u]);
                    while (S.time(x) > S.time(lambda[p]))
                        {
                            losses += 1;
                            x = S.parent(x);
                        }
                    continue;
                }

            vid_t x = S.parent(lambda[u]);
            while (x != lambda[p])
                {
                    losses += 1;
                    x = S.parent(x);
                }

            vid_t u_sibling = G.left(p) == u ? G.right(p) : G.left(p);
            if (lambda[u_sibling] == lambda[p] || transfer_edges[u_sibling]) // we know that lampda(u) != lambda(p)!
                {
                    losses += 1;
                }
        }

    return losses;
}

#endif /* COMMON_IMPL_HH */