All businesses face challenges. For a growing or changing business, these challenges often revolve around space – or lack thereof. Storage space, work space, movable space, secure space - whatever the problem, whatever you need it for, shipping containers can be the solution.
Consider a shipping container to be a highly secure, portable blank slate - an empty, durable box which can be used for all manner of things. What's remarkable about a shipping container, is its ability to be transformed into whatever you need it for – storage, office space, living space or something uniquely your own.
Unlike traditional, brick and mortar buildings, a Conex box is modified off-site and delivered ready to install. It boasts a smaller 20-foot or 40-foot footprint than most permanent structures, is far more durable and can be completed more quickly. Not to mention the most obvious of all benefits – it's ability to be mobile. Whether you're moving it a foot, a mile or hundreds of miles, the shipping container is a versatile way to solve space problems within your business.
A common issue with any business is that everyday items accumulate and occupy precious office space. Whether these items are accessed regularly or rarely, they must be kept. A Conex box can be placed on or offsite to accommodate these items while incorporating optional climate control, easy access personnel doors or organizational shelving.
A growing business requires the addition of more manpower, and any business will tell you cramped quarters are no fun for employees. A shipping container office placed on-site allows employees to remain close to the main office and continue to share other critical spaces. Offices placed in the field can include bathrooms or even kitchenettes.
Whether onsite or off, office layouts can be customized to the very specific needs of your business – private offices, conferencing rooms and more can be accommodated by the Falcon Office.
A common problem with most warehouses is a lack of secure and climate controlled workspace. Often an onsite office area, free from dust and debris, is required for shop foreman, project managers or contractors. A shipping container is a great in-warehouse solution for busy production teams. Consider installing large windows to oversee warehouse production while keeping additional work equipment secure.
While a need for functional business space may be clear, often city permits and requirements are more stringent for permanent structures. Permitting regulations fluctuate from location to location. However, the rules are often much more accommodating for mobile structures such as shipping containers. If a brick and mortar structure isn't possible on your property, consider a modular, containerized solution.
If your business must move with you, there's no better structure to aid in the transition than a shipping container. By design, these containers are meant to move cargo. Whether it be across the ocean or across town, your precious business cargo can travel safely from place to place all inside your mobile structure. Frequent jobsite transitions, mobile retail stores, mobile restaurants and more can all be constructed using shipping containers - ensuring your business moves when you move.
Shipping containers can solve these and many other everyday business problems. If you'd like to learn more about how shipping containers can help your business, contact Falcon Structures at 877-704-0177 to speak with a knowledgeable sales representative today.


text:
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    <!-- From: file:/Users/liu/Developer/Android/StudioProjects/PlaySyncAdapter/Application/src/main/res/values-v11/template-styles.xml -->
    <eat-comment/>
    <style name="Theme.Base" parent="android:Theme.Holo.Light"/>
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redpajama_set_name: RedPajamaGithub


The International Society of Posture and Gait Research World Congress will take place June 30 – July 4, 2019 in Edinburgh, Scotland. Join us for four days of science, networking and time spent in historical and exciting Edinburgh!
ISPGR Members benefit from reduced registration fees. If you are not currently an ISPGR member, you can join or renew prior to registering for the meeting. Please note registering for the meeting at the member rate will save you more than the cost of the membership.
Book your accommodation for Edinburgh early as it's a busy city! ISPGR has partnered with Marketing Edinburgh to offer many different hotel options at a variety of price points. Full service hotels, apartments and budget friendly options are available for ISPGR delegate through the link below.
Discounted accommodations are only available until May 16 or until they are sold out.
Join us on the last night of the congress for a delicious meal with friends and colleagues, followed by a 'ceilidh' (Kay-lee), a traditional Scottish dance party, with our confirmed musicians Òr Cèilidh Band.
'Gie it Laldy' (give 100%) on the dance floor, learning some new moves including the 'Canadian Barn Dance' and 'Strip the Willow'.
The 2019 Gala will take place on the last day of the congress, 4th July 2019 at the EICC. Delegates can book a place when registering for the congress, for a small cover charge of $30 USD +VAT per person. Guest tickets are also available to purchase for $95 USD +VAT per person. The Gala will include a three-course dinner with wine, and musical entertainment. There will be a cash bar available.
Start your visit to Scotland as you mean to go on, by signing up to join our whisky tasting session at the Opening Reception! You can sign up for $10 USD per person when you register for the congress. The tasting session will consist of four whisky stations manned by knowledgeable and passionate members of The Scotch Whisky Experience. At each station we have a different single malt Scotch whisky, chosen to represent regional differences, wood finishes, differing ages of maturation and methods of production.
The tasting begins with an introduction on how to appreciate whisky by examining the colour, body, nose, palate, and finish. The whisky expert will also describe each of the whiskies and offer a little bit of the background of each. Delegates are then free to nose and taste each of the three Scotch whiskies at their leisure, with informal instruction from each of our whisky experts.
There will be an aroma quiz at each of the tables, and a prize will be awarded to the best nose!
Join us for a morning run!
Challenge yourself by tackling Edinburgh's many hills and steps during a group led run each morning of the congress. Our volunteer group leaders will have routes planned out so that you can take in the view whilst keeping active.


text:
Q: How to configure Log4j2 by runtime-path (working directory) XML file, not classpath I cannot configure Log4j2 to read configuration from XML file in working directory.
I was trying to set system property as documentation says:

Log4j will inspect the "log4j.configurationFile" system property and,
  if set, will attempt to load the configuration using the
  ConfigurationFactory that matches the file extension

with Main class static initializer block, also in main method, with relative and absolute paths:

*

*System.setProperty(XMLConfigurationFactory.CONFIGURATION_FILE_PROPERTY,
"E:/log4j2.xml");

*System.setProperty(XMLConfigurationFactory.CONFIGURATION_FILE_PROPERTY,
"./log4j2.xml");

*System.setProperty(XMLConfigurationFactory.CONFIGURATION_FILE_PROPERTY,
"log4j2.xml");
Also with "log4j.configurationFile" instead of XMLConfigurationFactory.CONFIGURATION_FILE_PROPERTY and nothing of that works.
This configuration works only if I add XML to my classpath by putting it in src directory. I want to allow post-compilation lightweid configuration by editing XML file in working directory.
Used dependencies:

*

*log4j-core-2.0-beta9.jar

*log4j-api-2.0-beta9.jar

*log4j-slf4j-impl-2.0-beta9.jar

*slf4j-api-1.7.5.jar

A: Works fine for me.
public class Runtimeconfig {
    public static void main(String args[]) {
        System.setProperty(XMLConfigurationFactory.CONFIGURATION_FILE_PROPERTY, "/home/peter/config/log4j2.xml");
        new LoggedClass().logMe();
    }
}

public class LoggedClass {
    static Logger logger = LogManager.getLogger(LoggedClass.class);

    public void logMe() {
        logger.info("I'm logged!");
    }
}

It breaks when you use
static Logger logger = LogManager.getLogger(Runtimeconfig.class);

in your class where the main method is located, because static fields where initialized first.
What will work also is the following
public class Runtimeconfig {

    static {
        System.setProperty(XMLConfigurationFactory.CONFIGURATION_FILE_PROPERTY, "/home/peter/config/log4j2.xml");
    }

    static Logger logger = LogManager.getLogger(Runtimeconfig.class);

    public static void main(String args[]) {

        new LoggedClass().logMe();
        new Runtimeconfig().logger.info("I'm logged too");
    }
}

but then you rely on the order of static field initialization execution.

redpajama_set_name: RedPajamaStackExchange


text:
Dani W Music
Dani W + Drew Music
Subscribers (VIP Virtual Box Office)
Viewing: Industry Events - View all posts
Dani W + Drew Exclusive Interview with Planet LA Records!
Join us as we celebrate the journey behind the music! Planet LA Records presents a special Artist Interview Series!
Watch Full Interview Here: https://youtu.be/xeHj5vPTIdE
Click to all the latest Dani W + Drew headlines: https://linktr.ee/Daniwdrewmusic
May is AAPI Heritage Month!
Artists united for a special event to spread love and to build AAPI awareness.
Watch Dani W + Drew perform "Legacy" Click here:
in Media Interviews & Releases, Industry Events, New Releases!
Congrats! Cherish The Day Writer Raynelle Swilling Wins NAACP Award!
What an accomplishment! We celebrate the success of Raynelle Swilling and recognize her 20 years of creating impactful content! Raynelle shared her personal story through social media and shined a light on her team, including co-writer Ava DuVernay. Raynelle made time to extend a personal thank you to Dani and other musical artists for the gift of our voices as a contribution to the show. What an honor! Raynelle and Ava both continue to make Women's History shine bright as they continue their careers. Cheers to their success!!
After listening to podcasts about Cherish The Day, the word around town is that they employed just as many men as they did women on set to highlight how creative teams can be more inclusive. Congrats to this talented team who continue to lead by example!
The NAACP Image Awards also honored those Cecily Tyson and other leaders who have paved the way for us and have now passed on. The night was filled with winners and star creative talent including Beyoncé Knowles Carter who won big among other incredible hardworking leaders.
Honorable Mentions: More reasons to celebrate Women's History Month!
Although she did not pick up a camera until she was thirty-two, Ava DuVernay has made history as a writer, director, and producer. She was the first African American woman to win Best Director at the Sundance Film Festival, be nominated for a Best Director Golden Globe, direct a film nominated for a Best Picture Oscar, and direct a film with a budget over $100 million. Her work has made her the highest grossing Black woman director in American box office history. Her latest project, When They See Us, was nominated for 16 Emmy awards, making her and Beyoncé the first African American women in Primetime Emmy history to receive multiple nominations in their careers for directing.
https://www.womenshistory.org/education-resources/biographies/ava-duvernay
in Media Interviews & Releases, Honorable Mentions & TV Placements, Industry Events
D+D Acoustic Showcase at SpringBoard West!
Dani W + Drew were selected among 40 bands across the world to showcase at Springboard West 2020! Before their performance they discovered the wig cabinet with a little help from the Springboard team which added some salt and pepper to their soulful duo performance of an unreleased single.
Dani W + Drew photos above provided by Lacey W Photography.
in Showcases & Special Events, Media Interviews & Releases, Industry Events, On The Road
The Grammy Museum presents "EMPIRE: AN INSIDE LOOK AT THE MAKING OF THE MUSIC PHENOMENON"
The seats filled up quickly at The Grammy Museum as the audience eagerly awaited a special evening celebrating FOX's hit TV series EMPIRE with an intimate panel discussion featuring cast members Bryshere "Yazz" Gray, Serayah, Executive Producer Sanaa Hamri, GRAMMY winner and EMPIREMusic Producer NE-YO, and Senior Vice President of A&R for Columbia Records Shawn Holiday.
Moderated by Los Angeles Times writer Gerrick Kennedy, panelists discussed creating the music for the show.
Having taken TV audiences by storm in its record-setting first season, EMPIRE entered season two as the No. 1 series on broadcast television.
The series stars Academy Award nominee Terrence Howard and Academy Award and Emmy Award nominee Taraji P. Henson, and features music by prolific producers Timbaland, Jim Beanz and NE-YO. The GRAMMY-nominated soundtrack, Empire: Original Soundtrack from Season 1, was released in March 2015 and debuted at No. 1 on the Billboard 200 chart. The soundtrack made history as the first soundtrack to debut atop the Billboard R&B/Hip Hop chart. Empire: Original Soundtrack, Season 2 Volume 2 will be released on April 29 featuring never-before-heard songs from upcoming episodes and includes the powerful song "Never Let It Die" by Jussie Smollett and Yazz. EMPIRE airs Wednesdays at 9 p.m. ET/PT on FOX.*
Dani W and Ne-Yo at The Grammy Museum
Label Perspective
Jim Beanz shares, "The question was how do we take 30 seconds of a snippet of a show song and air it outside of the show?"
Sometimes it's difficult to have a TV show song go to radio. Fortunately viewers go directly online to purchase the songs from the show that they like right after watching. He shared that it was great to see that demand for the Empire music grow.
Early Adopters
Estelle and Snoop Dogg were on board early as they were pitching the show. It was a brand new show so it was harder to get celeb musicians on board at first. Wanted people with true musicality and true artistry like Ne-Yo and Alicia Keys who are now on the show.
They may shoot for 16 hours a day. Lots of dancing scenes are shot over and over again to perfection, along with the cast members having to be on point with their acting.
The producer mentioned she upholds the integrity of the performances. Ne-yo from the artist perspective adds, "I tell anyone...prepare to not sleep. It's going to be blood sweat and tears. If you want it, I'll see you at rehearsal."
How did Ne-yo join the show?
Since the first season, Ne-Yo has been in touch with the producers and wanted to be on the show. The debate was does he come on as Ne-Yo or as another character? He already has such a strong identity so they had to have him play himself. The producer gives praise, "It's not an easy thing to play yourself with strict lines. Ne-Yo's a natural."
How did you find the talent on the show?
There was a long audition process. They saw hundreds of girls. Last minute it was divine timing two days before shooting that they casted Tiana. She had to rap, act, sing and then when they found out she could dance they developed Tiana's character further. They enjoy giving raw unknown talent new massive roles. They use new people all the time which is a new way for big networks.
"Look but don't touch" lead to the first single. The radio started calling the label and asking for the song and to start radio interviews.
What's real?
Ne-yo, the music and show producers all wanted the music and artistry to feel like it was genuine and not just made for TV. The music has been nominated for Grammys and more.
Is touring on the horizon?
The label rep said" Eventually all of them will have a great touring career when the time comes." They didn't confirm a tour will happen.
Solo careers acting and singing wise are in the works. The actors on the show are in the studio now recording new music and love the fact that they have a strong identity as musicians separately from the show. This is something new considering usually talent are associated directly with the characters they play on a TV show.
How is urban artwork integrated into the show?
Chaz Guest debuted his Buffalo Warrior series in a coffee shop scene during one of the performances. The producers are always looking for natural ways to honor and incorporate inspiring art and talent to bring to the forefront.
Hear more about the artists debut here: http://www.fashionela.net/fashion/chaz-guest-i-want-to-seek-the-soul-of-things-and-put-the-dna-of-it-on-canvas/
*Sourced from The Grammy Museum official website.
in Showcases & Special Events, Industry Events
Special interview with LA REID and Babyface at The Grammy Museum – New Book "Sing to Me"
"It took two years to write this book and one day for the moderator at the Grammy Museum to read it" LA Reid jokes as they open the interview discussion of his new book Sing to Me.
This book written by LA REID with Joel Selvin comes at a great time since my stretch goal is to read one book a week! Here are some pictures and takeaways from tonight's talk.
The Grammy Museum with LA REID
Here are the highlights of tonight's special talk:
Meghan Trainor auditioned singing "All About that Bass" for Reid on her ukelele and he could feel God was in the room.
There's a process to recognizing that feeling of God being in the room. Reid admits between ages 12-22 years old our tastes develop. He uses the same heavenly feeling to recognize talent like M Train.
As artists we can plan the song, our look and more but we can't plan how music executives like Reid will feel. This is the magical unknown. This is where preparation meets opportunity.
Reid got his first set of drums at the age of 15. He auditioned for his first gig and the managers stopped him mid playing and told him he had the gig. This was a turning point for him as a true professional musician.
Babyface joins the conversation to share their industry stories. Both charismatic storytellers.
Dick Griffey a seasoned music producer advised, "It's not the singing business or else you could go to any Baptist church, it's the entertainment business." He also encouraged him to move, "You can make more money by accident in LA than on purpose in Cincinatti."
Babyface appreciated the moment and passion of each song but never knew it was groundbreaking since they didn't stop to celebrate while working.
There was a shift however. Reid and Babyface grew to become high in demand. Clive Davis asked them to produce Whitney Houston. She came to Atlanta to record "I'm your baby tonight".
Whitney had an hour to record before the mall closed and she really wanted to go before close. The bridge of the song wasn't even written yet. So she said let's go, sang the song from top to bottom. Nailed it! Then Babyface wrote the bridge super fast so she could make it to the mall in time. Incredibly rare singer. She flew in and recorded the song so easily. That became Reid's number 1 hot record. "Everything about Whitney was special" said Reid.
With the song "Miracle," Reid flew to NYC re-recorded Whitney's vocal. Reid and Babyface received a three page letter from Clive Davis regarding adjusting the mix. Reid turned up the vocals and Clive approved it good to go. They learned how Whitney's voice was to be treated with extra care. This was a new experience of vocal treatment in the mix for Reid and his team.
TLC rnb group auditioned individually. The third girl didn't make the cut. Coincidentally Babyface and Reid met Chili at a dance studio shortly after. Chili audition with Anita Baker "Sweet love" and they were locked in as TLC.
The same month they signed Toni Braxton. Her tone of voice caught their ears. Babyface also loved the pain in her voice because it gave him more to work with for songwriting.
Toni Braxton was initially asked to sing "Love Should've Brought You Home" for the Waiting to Exhale movie soundtrack with the song in the style of Anita Baker. Anita said the song was not for her. Ended up working out well for Toni. Babyface acknowledges that sometimes things don't go as planned and end up working out even better as they are supposed to. This generated millions of sales for their music label.
Reid thinks it's great that indie artists have more platforms to distribute independently. At the same time at a major label there's a team fighting for you even when you're not hot at the moment. Doesn't claim it's better but definitely acknowledges the advantages. He did jokingly admit he has a bias since he owns a major label.
At the finale, Joel Selvin also contributed to writing the book. He's a smart music critic and big fan of Sly and the Family Stone. So much appreciation and recognition of credit shared in gratitude tonight.
Thanks for tuning in! Visit the Music Page for more content or Home Page to hear the new single "Legacy" now out on iTunes Apple Music and more.
www.danielleWcarter.com
YouTube/Twitter/Instagram: @DanielleWCarter
in Industry Events

redpajama_set_name: RedPajamaCommonCrawl


text:
District textbook hearing set for Oct. 12
A public hearing on textbooks for the Lake Tahoe Unified School District will be held at 6 p.m. Oct. 12 in the district boardroom, 1021 Al Tahoe Blvd.
Attendance is encouraged for parents, teachers, community members and bargaining unit leaders.
The school board will certify, through resolution, as to whether each pupil in each school in the district has sufficient textbooks or instructional materials in specified subjects that are consistent with the content and cycles of the curriculum framework adopted by the state board.


text:
Q: Prime Power Gaps In 2000, Baker, Harman and Pintz proved that there is always a prime in
the interval $(n-n^{0.525}, n)$. There are also conditional results
implying smaller intervals. Nevertheless, I could not find any
information about prime power gaps. So, what I'm asking is:

What is the asymptotically largest function $f(n)$ s.t. there is always a prime power in the interval $(f(n), n)$?

For example, Bertrand's postulate is almost trivial in this case, since there is always a power
of $2$ in the interval $(n, 2n]$. On the other hand, the distribution of prime powers with
exponent $e>1$ is much smaller than the distribution of primes, so adding them might not change
the answer.

A: The paper shows that for $x \gt x_0$ there are primes in the interval $[x-x^{0.525},x]$ where the value of $x_0$ could be found effectively "with enough effort."  The result fails for $x=126$ but I can't immediately rule out that $x_0=127$ suffices. The paper seems to say that for large enough $n$ the number of primes in $[n,n+n^{0.525}]$ eventually exceeds  $\frac{9n^{0.525}}{100\log{n}}.$
Call an integer power proper if it is at least a square and respectable if it is at least a cube, To expand on Gerhard's observation: If we looked for intervals which contain either a prime or a proper integer power then we can say that there is always a square in $(n-2\sqrt{n},n)$ so this eventually improves on $x-x^{.525}.$
There is always a respectable power in $(n-3n^{2/3},n)$ but that is pretty near best possible, so I would guess that if we said  "a prime or a respectable power" then we would not be able to get any improvement over just "prime". Likewise, there seems no  reason to think that "prime or prime power" is essentially better than "prime or prime square" nor that "prime or prime square" is essentially better than "prime."


How's this for a spanking good deal?
The converted basement includes stocks — for both head and arms — built ride into the canopy bed. Lining two walls are conveniently placed racks capable of hanging your whips, chains and riding crops. It also features a leather sling and restraints, reported TV station KYW.
"Beautiful kitchen, beautiful family room, nice secluded lot but then you come into the basement and there's this little private playground, remarked Coldwell Banker preferred Realtor Melissa Leonard.
But not everybody thinks this brand of pillow talk is acceptable. Two real estate companies scrubbed the listing altogether off their websites.
Still, Leonard has adopted a truth-in-advertising approach to selling the home.


California Joy won the Class Three on December 23 but that speed blur is Sacred Ibis flying home for third. Photo: Kenneth Chan.
It was hard to miss the eye-catching run of Sacred Ibis last start and now the promising four-year-old steps up to a mile for the first time with a better draw in the Class Three Ambitious Dragon Handicap (1,600m).
After a sound debut last season Sacred Ibis has returned with two excellent wins, one at Happy Valley over 1,200m and another at the bigger track over 1,400m.
It was clear on both occasions that, in time, Sacred Ibis would need further but Paul O'Sullivan remained patient and kept the son of O'Reilly to 1,400m for start three.
A wide draw meant Karis Teetan was going to go back anyway, but when Sacred Ibis botched the start it meant he was a long last, detached from the field and chasing through the first 400m.
The leaders were going too fast early – Young Empire breaking 22 seconds from the 1,200m to 800m mark – and the on-pace horses were tiring badly at the finish.
That meant the finishing burst of Sacred Ibis was perhaps visually more impressive than it was in reality but the 22.28-second final 400m is still solid and he was clearly the horse to follow out of the race.
What makes Sacred Ibis so hard to beat on Sunday is the step up to the Sha Tin mile, where he will be able to take up a better race position, especially after drawing barrier three.
When Sacred Ibis drew barrier one over 1,200m at Happy Valley first-up this season Tommy Berry was able to use the barrier and have the horse better than midfield.
Barrier three on the B course should allow Teetan to find a similar spot even more comfortably given the race tempo will be slower than he has experienced before, provided the sluggish starts don't become a habit.
The BMW Hong Kong Derby will come around too soon for the 64-rated Sacred Ibis but Sunday's 1,800m Class Two is a chance for a host of other four-year-olds to push their credentials.
All five of the Derby entrants in theBullish Luck Handicap could have run in last weekend's Hong Kong Classic Mile and a decision not to looks smart now after Nothingilikemore outclassed his rivals in the first leg of the four-year-old series.
Michael Freedman's Cheerful Giggles (Brett Prebble) was initially entered for the Classic Mile but, concerned that his stayer would find that race too sharp, has gone for the easier option at a more suitable trip.
Freedman also puts blinkers on second-up, the same gear the gelding wore in his final three starts for former trainer Darren Weir, performances that included a second to Ruthven in the Queensland Derby.
Trainer Richard Gibson surprised many when he skipped the Classic Mile with Rattan (Chad Schofield), given that the son of Savabeel had won two of his last three at the course and distance.
Still, the fact the horse he was beaten by last start, Time To Celebrate, was beaten a long way in the Classic Mile probably indicates Gibson was right to dodge the big guns.
Now Rattan gets a test beyond 1,600m for the first time and the way he settled and then found the line last start, he could get the trip, but expect conservative tactics from a wide draw.
Earlier in the day, Chris So Wai-yin's Eighty Eighty (Joao Moreira) will be out to avenge a narrow last start defeat when he contests the Class Four Armada Handicap (1,200m).
Eighty Eighty started an odds-on favourite at his first two starts and is unlucky not to have broken through already.
Eighty Eighty was trapped wide in the run first-up when second to subsequent winner Sparkling Dragon before the four-year-old was just edged out in a photo by Bossie last start.
Bossie is back again, this time with returning apprentice Jack Wong Ho-nam and his five-pound claim.
Wong hasn't ridden since a fall in November and Bossie is one of two rides for the 24-year-old.


text:
Q: How Does the VS 2010 web.config work? I am just wondering in VS2010 the web.config is broken up into
web.config
web.debug.config
web.release.config

So from what I gathered is the web.config is just like the master template. So I am guessing in my debug I could put things like my local database where in my release one I would put my server database.
Now how does it know when to use the release version or debug version?
I also here that you can have more than 2. How does that work?

A: VS will use the debug version if you publish/run with the Debug configuration, and will use the Release version if you publish/run with the Release configuration.  Also, if you add more build configurations, you can have web.config versions for each of those build configurations as well.


Genuine Anti-Gankers continue to have fun while using the already-available mechanics and emergent techniques. A few angry boys in the ganker community will always try to deny that fact.
Just because they're outnumbered by the whiny carebears doesn't mean real Anti-Gankers are inexistent and ineffective. Today we will see how, even with limited numbers, their vision and courage can combine with saving the glory of Amarr ships while applying Advanced bumper care. I would usually name this type of post "Advanced Machariel Maintenance", but today's victims have their own style of bot-aspirancy.
Armin Soprano is another brain-washed heretic who likes to bump freighters endlessly, and then provide warp-ins to bot-aspirant Catalysts. Until now, there's nothing new. Nevertheless, in addition to reminding me the name of my favorite Trance music producer, he was using the Omen Navy Issue contrary to the majority of other bumpers in Machariels. Quite original at first sight, isn't it?… Not really.
The Amarr Emperor would have an heart attack if he saw this glorious ship ram into freighters. Thankfully, Anti-Gankers enjoy ganking the freighter bumpers just like they enjoy jamming fail-fit Catalysts.
Armin seemed to have some microwarpdrive and probe launcher to enhance his freighter hunt. However, at least two slots were empty: spatial awareness and bumping permit.
Content Generator Slania Auduin arrived to the scene and quickly cured the disease by ganking this bumper and liberating the golden Omen Navy Issue from Armin.
Slania knew how to deal with the heretic. He chose the Amarrian Harbinger to bring the symbolic justice.
"The Harbinger proclaims its status as a massive weapon, a laser burning through the heart of the ungodly."
Meanwhile, Content Ruiner CONCORD Police Commander brought the blessing to Slania, but the Omen Navy Issue's wreck remained as a symbol of the successful punishment that was delivered to the bumper.
Of course, the bumper's pod was not forgotten.
Hell, even Catalyst pilots dislike bumpers. According to the data, it was dealt with two minutes later. If correct, it turns out that the bumper was probably AFK-aspirant as well, what an ugly violation of EVE's basic rules!
…which resulted in this intervention from Jennifer en Marland who knows the mechanics like no other.
Ladies and gentlemen, there is no end to bumper bot-aspirancy: only four hours later, Armin was once again spotted performing his illegal activity in his Omen Navy Issue. Will they ever learn?
All high-slots were empty. Apparently, he learns backwards. Still no vigilance, still no permit. Guess what happened again?
Content Generators HC Androidson and Cpt Levi Gankerman intervened to show that there's no %100 safe space in EVE, and Armin's Omen Navy Issue vaporized again as a result of a successful gank.
Most of the time, it's extremely easy to save a pod. Since he was focusing so much on the Obelisk, Armin had a hard time figuring out how to do it.
The bumper failed to survive again. All this wouldn't happen if he had paid attention to his surroundings and pledged loyalty to us by purchasing an exclusive bumping permit. However, the Emperor's faith in the Omen Navy Issue was restored after these three exemplary operations.
Meanwhile in Lowsec, Koh Baelfire was busy staring at an asteroid belt in his Coercer.
Was he aspiring to become a ganker? If so, he had accidentally jumped into our lovely Lowsec. But that's just a detail. Most importantly… does he deserve to fly such glorious ship in the dangerous EVE space? Does he check Local and D-Scan? I wanted to test his spatial awareness level.
Back in those days, I was -10. Therefore, he could guess that my Skiff was probably not that peaceful when he sees me in Local and D-Scan, or as a bright red pilot on his Overview. But did he even use these vital tools?
The one thing I notice though… even this Coercer destroyer fit looks better than Armin's disgusting bumping-optimised "cruiser". However, our Skiff of Justice arrived to the scene and punished this ganker-wannabe who, judging from his behavior, didn't deserve to fly this golden ship. Content Generator Sansha's Ravisher also celebrated the moment by contributing to our operation.
His pod was then dealt with thanks to our Skiff of Doom's awesome mining capabilities.
Besides this Lowsec Coercer, the first part of today's post shows once again that both Gankers and Anti-Gankers continue to enjoy EVE and keep Highsec alive with their own ways and tactics, while the angry carebears cry for another nerf or spew insults because they lost their precious Covetor. Real Anti-Gankers don't cry for more nerfs on forums, they log in and play the game. Player interaction will never die no matter how much carebear whining tears flow.
What matters is the existence of a Highsec that makes us say: "This is EVE."
Highsec is fun, but Lowsec is even more fun. It is time to visit our dearest Lowsec shenanigans.
Reading these names is like reading an epic story with depth and reputation. Therefore, one cannot let anybody darken that reputation. Encouraged by these thoughts, I was once again flying my Maller in the ominous vastness of Amarr lowsec.
During my travels in space, I was of course refreshing D-Scan very regularly, and some Omen was appearing on scan results. Whenever you see a ship on D-Scan in Lowsec, it is important to understand who that ships corresponds to in Local chat.
At that moment, besides my corp mates, there was Edau Skir in Local. Most probably, he was the Omen. The 5 degree scan result was showing that he was either in Belt III-1 or III-2. What was he doing there? Ratting maybe. I did the usual Show Info, Biography and Employment History check on Edau Skir.
However, sometimes the character Biography alone explains everything.
A ganker-aspirant? In our lands? Why, hello there. Besides his peaceful face expression, Edau Skir seemed to be another brain-washed heretic who was just lost in our lands. His Biography was filled with worthless and irrelevant statements like "Halaima Code of Conduct", "mining permit", "recruiting rights" and "agent". Disgusting. Moreover, he was darkening the glorious honor of the Omen by flying it with a "mining permit".
Something had to be done. Individuals like Edau Skir are never seen as a sane type of capsuleer.
Edau Skir had the chance to warp away before we warp on him. After all, he had all the tools required: Local, which was showing like 7 flashy pirates and D-Scan results with mostly cruiser-size ships. Anyone who regularly makes use of these two simple tools can drastically increase the chance of survival. It is important to respect a capsuleer who checks D-Scan, Local and pays attention to his surroundings.
Since there were two possibilities, I warped to belt III-1 while my friend warped to belt III-2. Much to my surprise, I landed on top of the Omen which, judging from its unaware pilot, was more like holding a "Kill Me!" sign rather than a "Mining Permit".
"Il est la, dans trois-un, trois-un!" I said on comms. ("He's here, in three-one, three-one"). A counter-permit task force started warping to the area to cleanse the historical and glorious cruiser haunted by Edau Skir.
Content Generators Azov Rassau, oxxo Malukker, Futu Lepoulpe, Sansha's Ravisher, Spok spok and ExoHoffmanN cured the disease and liberated him from his "mining permit" holder Omen.
Edau Skir should have bought a ganking permit instead of meaningless things like "mining permit" which is now doomed forever. Another brain-washed heretic was driven from our lands. It could be said that the spirit of Anti-Ganking had combined with Amarrian glory.
10 days later, another hopeless case appeared. The person concerned, kapten sortebil, was very similar to those angry, rude and clueless guys who like to talk big without acting successfully (just like those angry carebears who appear in channels like Anti-Ganking, Mining. the kind of people that many people like to confuse the real anti-gankers with).
In fact, the first round of Local chat babbling started with another member of his team coming from a wormhole and talking about their willingness to engage in an arena type, fair, "all-equal" fight... in a sandbox like EVE.
[ 2014.10.27 22:47:27 ] Vertnormalia > 5v5?
[ 2014.10.27 22:47:49 ] Vertnormalia > or you too scared?
Vertnormalia wanted equal, honorable and a fair fight. He was quick to accuse us of being too scared.
About half an hour later, Vertnormalia's friend in a Paladin (Amarr marauder) finally arrived and started spewing empty words in Local.
All of a sudden, EVE happened. An already-coordinated team composed of ExoHoffmanN, Spok spok, kooozie, Azov Rassau, DaveGur and Nanotech Tazinas suddenly undocked and ambushed this talker in a Paladin even before his buddies in two Guardians and some other cruisers arrived. We pretty much had equal numbers in the system, which was what they wanted, yet kapten sortebil's "team" wasn't that organized. He was quickly liberated from darkening the glory of a Paladin with his bold claims in Local.
About a minute after the Paladin's explosion, his "team" finally started to land on grid with two Guardians at range. Too late, buddy. Too late.
Pay attention while playing at the undock.
Talk less, do more. Just because you're in a Marauder doesn't mean you're God-like. Think about your actions.
I recommend all carebears to leave Highsec and check out the gameplay of shooting things. Stop mining for a while. EVE space is full of action, surprises and fun content. As long as you're not like Edau Skir or kapten sortebil, you'll be fine. What matters most is the player decision, no matter where you are.
It's one freaking merciless sandbox.
One of the main complaints that come from AFK haulers is that there are no ways to counter bumping. However, reality says otherwise. It is a known fact that vigilant scouting and effective webbing are working ways of avoiding the bumpers.
Unlike the angry, AFK and whining carebears, we like to use valid game mechanics. Anti-Ganking isn't all about jamming fail-fit Catalysts. It is also about… ganking Machariels. Freighter bumpers are going down one by one in quite a regular basis. As any Anti-Ganker will tell you, there is great satisfaction in killing those Machariels.
In Highsec however, laughable and robotic activities like freighter bumping results in strange-looking fits focusing on speed and agility. Therefore, although fitting some tank is important, spatial awareness is a lot more important for survival.
Taishan Mandragoran doing his last cargo-scan with that Machariel, named "Travasek's Machariel" according to D-Scan results.
Just like Taishan Mandragoran who was liberated previously, Siegfried Cohenberg believed he could safely bump freighters and provide warp-ins for the bot-aspirant Catalysts without any risk. Judging from his behavior, it is quite obvious that he thought he was 100% safe in Highsec while enforcing his robot-like bumping activity without having a bumping permit. After all, in addition to minimal scouting, anyone who checks Local, D-Scan and Overview grid can avoid losing a ship in Highsec.
In fact, if you pay attention (=play the game), it's so difficult to die in Highsec that anyone who dies there probably wanted to die.
Thankfully, Highsec is a competitive environment with many people from a variety of backgrounds. More and more people from Nullsec alliances, Highsec miners and Anti-Gankers are eagerly training their main's/alt's blaster skills to enforce this generous activity as follows.
Siegfried was once again aspiring to be a bumping bot in his Machariel. He had a Damage Control II (we don't know if it was even active at all) and Large Shield Extender II, nevertheless, his bumping permit slot was empty.
Content Generators Agent Tom, Jennifer en Marland, Slania Auduin and Armand Patrouette saved him from his brain-washed tendencies by bringing justice and punishing his Machariel.
Soon after being liberated from his bot-aspirant Machariel, Siegfried started babbling in EVE forums again, talking about why freighter pilots should pay him for a safe passage.
Bumper education is a process with a duration that depends on the bumper's willingness to learn. Judging from the above statement, it looks like someone needs to be ganked again.
bot-aspirant when they start bumping freighters. Freighter bumping, in itself, constitutes the apogee in the list of robot-like and boring things you can do with the ruthless Machariel in EVE. Apex Aubaris is a known and respected fleet commander of Spectre Fleet and other shenanigans. Considering the mental state of Siegfried and the nature of freighter bumping, it is quite surprising to see someone like Apex do the same activity in a very similar manner.
Yes, similar. It looks like he made a mistake by ignoring the bumping permit slot, cloaking device, spatial awareness and general vigilance. Moreover, there was nothing in High slots. A disgusting sight that can bring nightmares to the engineers and designers of Angel Cartel who worked so much for introducing this epic behemoth to New Eden.
What happens when all these dangerous mistakes are made?
Content Generators Slania Auduin, Arrtidius, Scott Bacon and Armand Patrouette delivers the punishment by means of advanced Machariel maintenance.
With total care, the anti-tanked Machariel vaporized within seconds as a result of this generous intervention. Angel Cartel's faith in Highsec Machariels was restored and the victim was reminded that the rules of EVE apply to everybody: tank your ship and pay attention to your surroundings.
As you can see, the usage of valid game mechanics against gankers work much better than sending insults, RL threats or homophobic slurs to them.
Anti-ganking through ganking: now that's emergent content.
"There are some people who don't want to wait for new mechanics and just gank our Machs. We like these people. Eve is really a great game if you play it."
real Anti-gankers are continuing to enjoy EVE by using the already-available mechanics.
Player Versus Player. Working as intended.
As a former Lowsec outlaw, I know what it's like to jump into Highsec with outlaw-level negative security status. It is possible to avoid faction police, but if a player manages to point you, you're doomed.
Some angry carebears claim that they don't have tools to fight back gankers, outlaws and criminals in Highsec. Others take their whining to the next level by declaring that CCP should buff CONCORD and change the game mechanics so that outlaws cannot navigate in Highsec at all. However, it is not by buffing NPC police that Highsec will become a healthy place. Highsec is, and should always remain a place where player interaction matters. Even in the emptiest Highsec system, you can use the available tools to stop the outlaws. Imagine what can be achieved in popular gank centers like Sivala, Uedama or Niarja.
Vaajaita is an empty, isolated, "bridge" Highsec system often used by the Lowsec outlaws as a shortcut between different Lowsec systems. This, of course, becomes a great source of entertaining, emergent gameplay.
Our insta-lock Skiff was once again patrolling the two Lowsec gates in Vaajaita. This time, I had chosen the Jan gate. A good amount of time passed, with absolutely no sign of illegal passage. However, the generous Highsec Anti-Gankers are known for their never-ending patience. When it comes to teaching fun and emergent lessons in Highsec, our patience is like no other, because we know that it is worth waiting.
As the endless amount of minutes passed, someone named RolandoooEvoX, a member of The Vikings of Valhalla, entered local. It could be from any gate. After all, there are 3 stargates in Vaajaita (1 Highsec, 2 Lowsec), and our unique, courageous Skiff can only cover one stargate at a given moment.
Or maybe he had just connected at a station in the system.
[ 2013.11.16 21:43:45 ] (notify) You have entered Caldari space RolandoooEvoX, where criminals will not be tolerated!
Yes! It was our gate. Moreover, he was an outlaw: exactly what our Skiff needs.
But what was he flying?
RolandoooEvoX didn't decloak right away. 5 seconds… 10 seconds… 20 seconds passed. He probably understood what was about to happen.
In these moments, you don't know what ship type is going to decloak (assuming that you don't scout). In this case, what decloaked was an outlaw Combat Battlecruiser: a Cyclone.
Our Skiff swiftly locked and double-pointed the outlaw.
While our Skiff was kindly welcoming the red Cyclone to Highsec with this lesson-teaching warp disruption, Content Generator Caldari Police Vice Commissioner (faction police) arrived, as always, late to the party.
The most important role was already done by our Skiff: initial tackling. Meanwhile, even though he knew that he couldn't really tank faction police's DPS, RolandoooEvoX, in frustration, engaged our Skiff. The sounds of faction police were accompanied by the sounds of vicious missiles hitting my Skiff's shields. Highsec was once again benefiting from chaos, consequence, excitement, justice and player generated content.
Meanwhile, Content Generator Caldari Police Commissioner was busy applying two additional (and not really needed) warp disruptions to the Cyclone.
The NPC police forces tend to be stupid indeed. Our capsuleer-controlled mining ship had done the initial and vital tackling like 40 seconds ago.
The problem with Rolandooo's missiles is: the Skiff is amazing. It has the tank of a Battleship and the scan resolution of a Crow. It's like magic.
RolandoooEvoX not only engaged our Skiff, but he also actually tanked the faction police for a short while. He was a stubborn, determined outlaw. Unlike Currin Trading, he was a fast-thinker. If only he had a ganking permit. As his Cyclone exploded due to the heavy DPS of Caldari Vice Commissioner, we also noticed that he wasn't as clumsy as Taishan Mandragoran who was mentioned previously. RolandoooEvoX managed to save his pod, and instead of crying or raging in local, he reacted like a healthy EVE player.
This is an example of what EVE is really about: consequences, lessons and most importantly, a fun sandbox.
As a Viking of Valhalla, RolandoooEvoX had only wanted to join his friends in Aurohunen who were killing a 1.1b ISK worth Sleipnir at that very moment.
In Norse mythology, Sleipnir is the name of the eight-legged horse belonging to Odin, the God ruling over Valhalla.
As you can imagine, RolandoooEvoX definitely had to join that kill. He thought that he could freely navigate with such security status in our holy Highsec. However, I won't be interested in an eight-legged horse anytime soon. Our Skiff of Doom punished his lack of a proper ganking permit. Both sides had fun, one side lost a Cyclone.
Among the dropped loot, there was 1 Spirits and 2 Tobacco. These three items are still kept in our Skiff's cargo hold today. To be honest, I am more interested in Spirits than Tobacco.
According to some rumors, some wealthy outlaws were recently seen shortcutting through Vaajaita.


Documented here because I tend to forget all the steps every 6 months.
Memtest86+ doesn't work as of ~20 March 2019.
This is setup I found on coreboot's mailing list, uses systemd-nspawn (most systemd distros should work fine) but as always I only test on Arch.
Titles in bold are to be run on machine you build coreboot on, italics on X230.
# if flashrom outputs any errors do not reboot!
© 2019 Roshless. Powered by Hugo.


Method Cycles & Craft House is a new business in downtown Lincoln, NE. It's a multi-function space that includes high-end coffee and espresso, bicycle retail and repair, and (soon) craft beer. It's a kind of "bike cafe" space. The look of the space is exposed brick and roof beams, salvaged wood, and raw metal. The branding needed to look high-end while maintaining an accessible vibe for a neighborhood stop-in. The storefront gets plenty of walk, bike, and drive-by traffic, so it needs to be instantly recognizable as unique.
I developed a brand design package that includes a master logo (above), alternate logos, icon, typeface selections, and a variety of additional designs to be used on anything from coffee cups to apparel. The brand is adapting to the space, and the additional options are being incorporated gradually.
Alternate logo, swapping the typefaces.
"Master" logo in outline, for when a softer look is desired.


Umar Amin showed his class by scoring fighting … runs to take his side over teh victory line single-handedly against Lahore Qalandars in the eighth match Pakistan Super League (PSL) season four at Dubai International Stadium on Sunday.
Amin took just 38 balls to score a worthy inning which included 10 hits to the fence and a six. Bowlers of Zalmi laid a solid foundation for their team to wrap up an easy win.
Coming out to bat first, Qalandars batsmen were not in a mood to stick at the crease as their wickets were fallen after regular intervals.
Hasan Ali in the third over removed Fakhar Zaman who failed to tackle a short ball and edged it high up in the sky which went straight in the hands of Umaid Asif. Sohail Akhtar was the other victim of Hasan who amused the crowd celebrating in his own style.
De Villers then tried to build some momentum for his team hitting the ball through uppercut to the boundary but the next ball was a nightmare for him as Hasan with immense pace beaten the world's top batsman. A ball on good length off Hasan went straight to thrash the stumps and sent De Villiers back to the pavilion after scoring just 14 runs.
Anton Devcich was the highest scorer for Lahore Qalandars with 18 runs but fell to Pollard who finished with the figures of 1-10.
In reply, Zalmi seemed a bit shaky as Shaheen Shah Afridi and Haris Rauf brought early breakthroughs for their team.
Afridi got rid of Kamran Akmal who was failed to get off the mark while Rauf sent off Imam-ul-Haq for nought. Later, Amin took responsibility and smashed the ball in all parts of the ground.
Afridi, Rauf and Rahat Ali bagged one wicket each for Qalandars.


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How does Open Access relate to subscription journal pricing?
FSU Libraries have been forced to cancel a 'big deal' journal package with Springer. The available budget for library collections at FSU has remained flat for the past five years, while the cost of library resources has risen by 4-6% annually, and by as much as 9% for journal subscriptions in STEM-related fields. This situation is inherently unsustainable, and it is the product of the subscription-based model of scholarly publishing. Under this model, the cost of journal subscriptions has increased at 300% the rate of inflation since 1986, resulting in tremendous financial burden on academic libraries and their parent universities. The subscription model also restricts the dissemination of faculty research, placing it behind paywalls so that anyone who can't pay can't read it, and thereby limiting its impact on other researchers and the general public.
Open Access (OA) is a movement based on the principle that this situation is fundamentally unjust, and that the fruits of academic endeavor should be freely available to everyone. OA archiving and publishing are the two main strategies for accomplishing this goal, and they promise to benefit both the global research community and individual authors, moving published research into the open and thereby broadening its readership and generating more citations. OA is also fast becoming a requirement for recipients of research funding, as many public and private funding agencies are enacting public access policies to make the results of funded research accessible to all.
But how is OA relevant to FSU Libraries' current budget crisis? Does OA provide viable alternatives to the subscription-based model of scholarly publishing? How does OA propose to counteract the predatory pricing practices of commercial academic publishers, and how successful has it been in that effort thus far? Do current developments suggest that OA will provide a long-term solution in future? To explore these questions, let's take a closer look at the main forms of OA and how they compare to the traditional model.
Green OA: Open Archiving
Green OA refers to the practice of depositing manuscript versions of journal articles in open repositories, where the peer-reviewed content is made publicly available at no cost, even if the final, published articles remain locked behind paywalls. Some of these repositories serve an entire academic discipline (as ArXiv does for physics), while others are specific to institutions (like DigiNole Commons, FSU's research repository). Open repositories are committed to providing long-term preservation and access, and they are built on sustainable service models that are low-cost and highly scalable, especially relative to traditional academic publishing. Ultimately, the hope is that the availability of peer-reviewed manuscripts in open repositories will counteract the pricing practices of large academic publishers, giving libraries bargaining power to negotiate better prices. Green OA is still in its infancy, but there are strong arguments to suggest that it could significantly reduce the cost of journal subscriptions if it were implemented successfully at a system-wide level. Many challenges still need to be overcome for Green OA to succeed at such scale, but, for now, every FSU researcher can do their part by contributing their work to DigiNole Commons. Just send citations or links to your recent journal articles to lib-ir@fsu.edu, and include a copy of the peer-reviewed manuscript version of the article if it's available.
Gold OA: Open Publishing
OA publishers make the final versions of articles and books publically accessible immediately upon publication at no cost to readers. The shorthand for this is Gold OA, and it comes in a variety of different forms, from volunteer-run OA journals that charge no fees at all to commercial OA publishers that generate revenue from author-side publishing fees.
The cost of publishing an OA journal is typically lower than that of publishing a subscription journal of the same quality, since OA publishers have no expenses related to subscription management, digital rights management, and legal fees for licensing and permissions. Many OA publishers also benefit from using open-source publishing platforms (such as Open Journal Systems), which streamline a variety of editorial tasks and responsibilities, from submission management and peer review to digital publication and preservation. By lowering the cost of production, Gold OA creates the potential for more equitable, sustainable business models. There are several successful examples to mention here, including:
Diamond OA journals that operate without charging publishing or subscription fees (over 70% of OA journals use this model)
the Public Library of Science (PLOS), which charges OA publishing fees backed by a robust waiver program, rigorous peer review, and reduced time-to-publication
the SCOPE 3 project, a major collaborative initiative that will convert all of the subscription journals in particle physics to OA, primarily by redirecting funds that currently pay for subscriptions fees (and reducing the overall cost to institutions in the process)
the Open Library of the Humanities and Knowledge Unlatched, which use a similar model as SCOPE 3 to support OA publishing of journals and books, respectively
As Gold OA publishing models become more prevalent, they will increase the proportion of high-quality academic research that is freely available online, and the hope is that this will eventually reduce the demand for big-deal journal packages and counteract the ability of publishers to set unreasonable prices for subscription content.
As these inspiring OA stories help to show, every researcher can play a role in promoting the long-term success of OA publishing, no matter their disciplinary background or the stage of their academic career. You can make a big difference by simply deciding to submit your next paper to an OA journal, and your work will stand to benefit from increased potential to be read and cited. To get started, you can find thousands of reputable options in the Directory of OA Journals, and you can also get in touch with your friendly subject librarian for expert recommendations. And don't worry about OA publishing fees! If you have grant funding, your funding agency likely permits you to use a portion of your grant to cover publishing fees. If not, then FSU Libraries' OA Publishing Fund has you covered for up to $1500 USD per year.
Federal Open Policies
In February 2013, the White House Office of Science and Technology Policy (OSTP) issued a policy memo directing federal agencies to develop policies to make the publications and data resulting from funded research freely available to the public. The agencies have begun releasing their policies, many of which include a new requirement for data management plans as part of the proposal process. The enactment of these policies follows a global trend, with major public and private research funders in the EU, UK, Canada, and Australia all developing and enacting similar policies in recent years. Because most funding agencies permit researchers to use their grants to cover the cost of OA publishing, this trend signals an important shift in the economics of scholarly publishing, with research funders now sharing part of the financial burden that has historically been borne mainly by educational institutions. Perhaps more importantly, by requiring researchers to make their work openly available (and imposing penalties for noncompliance), funder OA policies will inevitably accelerate the growth of both Green and Gold OA, moving more and more scholarship into the open and consequently reducing the value of subscription journal packages, which could save universities and their libraries millions each year.
FSU Libraries' Public Access Team supports faculty in complying with and interpreting funder OA policies. For questions or details about specific policies and requirements, please email lib-publicaccess@fsu.edu.
The OA movement has been gaining momentum in recent years, spurred largely by the enactment of OA policies by funding agencies across the western world. Relative to the history of academic publishing, however, OA is still very new, and it will take time for it to truly take hold and transform the current system. One of the most important challenges will involve changing the established attitudes, habits, and behaviours of academic researchers, publishers, and librarians to adapt to these new developments. Researchers can do their part by committing to self-archive their work and explore OA publication venues, following the inspiring example of many researchers who have committed to making their work OA.
Unfortunately, these measures are unlikely to mitigate FSU Libraries' budget crisis in the short term. The unsustainable cost of journal packages is a systemic problem across the US: other universities have been forced to cancel subscriptions before (see here, here, and here), and collective action may be required at both the state and national levels in order to mitigate this situation while the OA movement works toward a more systemic, long-term solution. One example of such collective action is currently taking shape in the Netherlands, where Dutch universities have taken a stand against Elsevier over subscription costs and are poised to cancel their big deal package with the publisher effective January 2016. What is clear is that, if subscription costs continue to rise, academic publishers will only force more institutions to cancel journal subscriptions, which will further restrict the dissemination of faculty scholarship. OA archiving and publishing present the only viable solutions to this problem that promise to be beneficial for all parties, including authors, readers, libraries, and publishers. And, while these solutions will take time to come to fruition, they are well worth fighting for.
Posted in Digital scholarship and tagged cost, journal, open access on October 30, 2015 by Devin Soper. Leave a comment
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Title disputes concerning pieces of art are on the increase and the complexity as well as severity in relation to the claims is also increasing. Ownership history is an increasingly sensitive issue for buyers and sellers since the purchase of a piece does not necessarily mean the buyer owns it. Anyone purchasing pieces of art falls under the principle caveat emptor (buyer beware) as with any other transaction. The seller has no obligation to volunteer information to the buyer about the relevant piece of art. However, if the seller does provide information about the piece then it has to be correct. Although it is generally expected that the buyer will perform due diligence to confirm any ownership and authenticity issues, this is an increasingly difficult procedure. Art crime resulting in issues over ownership rights are now the third most prevalent crime around the world. Here we examine the various problems in determining and proving who owns a piece of art.
Problems relating to the ownership of art are not a new issue but were highlighted in 1998 with the creation of the advisory commission on Holocaust assets that published their final report in 2000. The largest art theft in history occurred when the Nazis stole 650,000 pieces of art including paintings, sculptures, gold and antiquities (or "forced sales") from around Europe, known as Nazi plunder. The vast majority of these pieces were never recovered. All levels of Nazi officials were involved in this, and between the end of 1940 and July 1944, 30 train convoys left Paris with 1,200 crates of masterpieces. It is estimated that the Nazis took 20% of the art of Europe and stored in castles, cellars and warehouses. This has had a massive impact on the title of a lot of pieces that predate the Second World War. Artwork with tainted histories can result in severe repercussions for a current owner that does not return them.
However, this does not mean pieces created after this time are not without their issues. More than 15% of the stolen or missing artwork on the Art Loss Register, an international database, was made after this period- that's around 45,000 pieces of art.
Issues on ownership can arise for various reasons and not just as a result of theft. If there are joint owners and one sells without the permission of all the owners, then the buyer may be a co-owner rather than the sole owner, which could severely impact on the rights and value of the share. There can also be liens or charges over the artwork, where for example the piece is used as collateral for a bank loan. Issues can arise because of inheritance or will disputes where a person alleges the deceased person had gifted the piece to them before they died. If a piece is regarded as a national treasure, then there are laws in place governing how and when it can be removed from that country, including temporary export bars, to protect these valued artworks.
The rising price of art has been one of the reasons for the increase in art ownership disputes. Artwork should come with documentation that states where it has come from, known as provenance. If this is done well it can provide vital evidence on the origin. Provenance does not prove that the artwork is authentic- this is a different matter. Traditional provenance checks will identify if there are any gaps in possession of the piece but do not resolve if there is clear legal ownership. If there is an issue on the title to a piece of art, this can adversely affect the value of the piece. The initial sale may be correctly documented and prove it was legal but what happens to the artwork after that can be an issue. Art theft is a multi-billion-pound industry arising from the fact the art market is one of the largest legal global markets. But other circumstances can result in issues over ownership including probate issues, divorce, bankruptcy and creditor issues. These financial situations can create a tangle of ownership that is very difficult to trace and determine.
A major issue in following the trail of ownership with pieces of art is the element of anonymity that often surrounds the world of art. This makes determining who owns the artwork incredibly difficult. Generally, the owner of the artwork is not at the gallery or auction where the sale is taking place, meaning that the buyer does not know who they are. The contract for the sale of the art will usually state that the seller has clear title to the artwork. However, there is unlikely to be clear evidence to show the seller had conclusive evidence to determine they had this.
It is, therefore, necessary for buyers of artwork to proceed with extreme caution and to determine not just the provenance of the piece but also that there is, in fact, correct legal title. Provenance checks must be investigated thoroughly since this can also highlight ownership issues. Buyers must ensure they check the various art title databases that are available to determine if there are any issues with the title. Checks concerning the sellers and relevant auction house (including professional background checks for high value pieces) to ensure they are reputable can also protect against issues. Moreover, it is possible to obtain art title insurance to protect against the risk of defects in the title emerging after buying a piece of art and protects the buyer against future claims.
Cases of disputed title can be complicated and time-consuming, particularly where a third party claims to have true ownership of a piece of art. Owners of artwork who have their right to ownership challenged can find this both emotionally and financially draining. This area of law is very niche and complicated. Anyone involved in a dispute regarding the ownership of a piece of art needs to take expert advice from a specialist lawyer who can guide on the relevant approach to ensure the best possible outcome.
The art disputes solicitors at Selachii are experts in this area of law. We understand how important it is that your most valuable personal and business assets are protected. Our team provide high-quality advice on the full range of contentious matters involved in art disputes, from ownership to authenticity, and strive to get you the quickest, least disruptive and most affordable solution. We have a wealth of experience representing private collectors, auction houses, dealers, galleries and artists involved in art disputes.
If you are involved in an art dispute and you need specialist advice, please contact our solicitors today. Call us on 020 7792 5649 or email info@selachii.com.


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Frieda Koenen geb. Frieda Bockentien (* 18. April 1890 in Flensburg; † 17. November 1968 in Berlin) war eine deutsche Politikerin der Sozialistischen Einheitspartei Deutschlands (SED) in der Deutschen Demokratischen Republik (DDR). Sie war Abgeordnete des Landtags Sachsen-Anhalt und der Provisorischen Volkskammer.

Leben
Frieda Koenen erlernte den Beruf einer Schneiderin und trat 1913 in die Sozialdemokratische Partei Deutschlands (SPD) ein. 1917 trat sie zur Unabhängigen Sozialdemokratischen Partei Deutschlands (USPD) über und wurde während der Novemberrevolution 1918 in Merseburg in einen Arbeiter- und Soldatenrat gewählt.

1920 wurde sie Mitglied der Kommunistischen Partei Deutschlands (KPD), in der sie leitende Funktionen übernahm. Koenen engagierte sich in der Roten Hilfe Deutschlands (RHD), in verschiedenen Konsumgenossenschaften und war Stadtverordnete in Merseburg. Nach der Machtübernahme der Nationalsozialisten und dem Verbot kommunistischer Betätigung ging sie im Sommer 1933 mit ihrer Familie in die Emigration in die Sowjetunion. Hier begann sie zu studieren und wurde in Kuschnarenkowo Dozentin an der Hochschule der Kommunistischen Internationale. Ab 1943 arbeitete Koenen im Nationalkomitee Freies Deutschland (NKFD) als Lehrerin der Antifa-Schule für deutsche Kriegsgefangene in Talizi.

Nach dem Ende des Zweiten Weltkriegs kehrte Koenen im November 1945 nach Deutschland zurück und beteiligte sich an der Bildung von antifaschistischen Frauenausschüssen in der Provinz Sachsen. Nach der Ermordung von Martha Brautzsch wurde sie im März 1946 deren Nachfolgerin als Mitglied der KPD-Bezirksleitung Halle-Merseburg. Im April 1946 wurde sie, nunmehr SED-Mitglied, Leiterin der Abteilung Frauen des SED-Provinzialvorstandes Sachsen und im selben Jahr Abgeordnete des Landtags Sachsen-Anhalt. Außerdem war sie Gastlektorin an der Provinzparteischule im Schloss Wettin. 1947 war sie als Mitglied des Vorbereitenden Komitees Mitbegründerin des Demokratischen Frauenbunds Deutschlands (DFD).

Im März 1948 wurde sie Mitglied des Deutschen Volksrats, der sich nach Gründung der DDR 1949 als Provisorische Volkskammer konstituierte. Von November 1949 bis 1950 gehörte sie der Provisorischen Volkskammer an und war Mitglied des Haushalts- und Finanzausschusses. Zuletzt war sie Vorsitzende der Frauenkommission der SED-Bezirksleitung Halle.

Frieda Koenen war verheiratet mit Bernard Koenen und war die Schwägerin von Wilhelm Koenen, die ebenfalls hohe politische Funktionen in der DDR ausübten. Koenens Söhne Viktor Koenen und Alfred Koenen, der später Offizier der Nationalen Volksarmee (NVA) und Diplomat der DDR war, kämpften im Zweiten Weltkrieg in der sowjetischen Roten Armee.

Frieda Koenens Urne wurde in der Grabanlage Pergolenweg des Berliner Zentralfriedhofs Friedrichsfelde beigesetzt.

Auszeichnungen
 1955 Clara-Zetkin-Medaille (DDR)
 1960 Vaterländischer Verdienstorden in Gold (DDR)
 1965 Banner der Arbeit (DDR)

Literatur
 Christa Jacob: Frieda Koenen. Stationen ihres Lebens und Kampfes an der Seite ihres Mannes Bernard, Hrsg. von der Kommission zur Erforschung der Geschichte der örtlichen Arbeiterbewegung bei der Bezirksleitung Halle der SED, Halle (Saale), 1983

 Vereint auf dem Weg zum Sozialismus – Geschichte der Landesparteiorganisation Sachsen-Anhalt der SED 1945 bis 1952, herausgegeben von den Bezirksleitungen Halle und Magdeburg der SED. Halle / Magdeburg 1986

Weblinks
 Frieda Koenen im DRAFD-Wiki

Einzelnachweise

Abgeordneter der Volkskammer
Landtagsabgeordneter (Sachsen-Anhalt 1946–1952)
SED-Funktionär
DFD-Funktionärin
Person der Novemberrevolution
Emigrant aus dem Deutschen Reich zur Zeit des Nationalsozialismus
Person (Widerstand gegen den Nationalsozialismus)
Kommunistischer Widerstand gegen den Nationalsozialismus
Person (Nationalkomitee Freies Deutschland)
Träger des Vaterländischen Verdienstordens in Gold
Träger des Banners der Arbeit
Trägerin der Clara-Zetkin-Medaille
Mitglied der Roten Hilfe
SPD-Mitglied
USPD-Mitglied
KPD-Mitglied
Deutscher
DDR-Bürger
Geboren 1890
Gestorben 1968
Frau

redpajama_set_name: RedPajamaWikipedia


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The three major variables that we use in studying motion are displacement (distance), velocity (speed) and acceleration. We could also include a fourth variable, time, since this variable is included in most of the equations that we use.
We can do a lot with these equations, however, they have limitations. By themselves, we can use these equations to solve simple problems. To solve more complex problems, we must combine these equations together to create new, larger equations. If the acceleration of an object varies, however, the motion will be too complex for these new, combined equations. So these new equations will only work when the acceleration is constant.
There are four variations to combining these equations. These four new equations are often called the equations of motion or the kinematics equations. Again, these kinematics equations may be used to solve any motion problem where acceleration is constant.
These equations are meant to be used as a group. Usually you will only need to use one of these equations to solve a problem. Sometimes, however, you will need to use two of them to solve a problem. The key to solving a kinematics problem is to use the equation where you have three known variables and only one unknown variable.
We can rearrange this equation even further to solve just for the final position of an object (xf). Do solve for final position we can move xi to the other side of the equals sign by adding xi to both sides of the equation.


text:
Чирка — пресноводное озеро на территории Сосновецкого сельского поселения Беломорского района Республики Карелии.

Общие сведения
Площадь озера — 1,4 км², площадь водосборного бассейна — 88 км². Располагается на высоте 200,1 метров над уровнем моря.

Форма озера лопастная, продолговатая: оно вытянуто с северо-востока на юго-запад. Берега каменисто-песчаные, преимущественно заболоченные.

Через озеро протекает река Чирка, впадающая в реку Чирко-Кемь. С южной стороны в озеро впадает река Кушма.

В озере расположено около десяти безымянных островов различной площади, однако их количество может варьироваться в зависимости от уровня воды.

К востоку от озера проходит лесовозная дорога.

Код объекта в государственном водном реестре — 02020000911102000005070.

См. также
 Озёра Карелии

Примечания

Бассейн Чирко-Кеми
Озёра Муезерского района


1. Visit assisted living communities.
The best way to judge whether senior housing is the right choice, is with a first-hand look. Find different facilities in your area and arrange visits to get a feel for their atmospheres and accommodations.
2. Ease in with temporary living.
Some assisted living facilities allow residents to move in on a temporary basis-a great opportunity for seniors who are unsure of whether the change is right for them. You or your loved one will receive all of the benefits of a regular residency with the ability to return home at the end of your stay.
3. Build a social circle.
A great aspect of an assisted living community is the level of interaction it promotes amongst residents. Seniors are able to visit each other's apartments, attend facility-organized events such as dances, and even create their own hobby clubs and groups. Try to visit one or more of these events while touring so that you or your loved one can meet residents who share similar interests.
The services provided by an assisted living facility can vary from residence to residence. Take stock of your or your loved one's needs and find the community that best fulfills them. While some seniors may only need help with laundry and cooking others may require additional help in the form of transportation, housekeeping, and assistance with administering medication.
Before you begin packing, make time for sorting through personal effects. While most items will likely stay with you, your loved one, or your family, don't be in a rush to throw away the rest.


text:
Home / News / Police reacts as hoodlums set INEC office ablaze, destroy PVCs, registers
Police reacts as hoodlums set INEC office ablaze, destroy PVCs, registers
The Police in Abia State has confirmed the burning down of the Independent National Electoral Commission, INEC, office in Isiala-Ngwa South Local Government Area of Abia.
The State Police Public Relations Officer, SP Geoffrey Ogbonna confirmed the incident to the News Agency of Nigeria, NAN, in Aba on Sunday.
He added that the fire occurred on Saturday night.
He said that information available to the police showed that "the fire started from the toilet and extended to the office, where the Permanent Voter Cards (PVCs) were stored."
The police spokesman added that "some of the PVCs were already destroyed before the fire was eventually put out on Sunday morning."
He said that the number of damaged PVCs had yet to be ascertained.
Ogbonna, who spoke from the scene of the fire, said that the command had commenced investigation to ascertain the cause of the fire.
Speaking further, the Head of Public Affairs of the Commission in Abia, Mr Bamidele Oyetunji, said that police had taken over the investigation of the incident.
Oyetunji said that the police were in a better position to find the perpetrators of the dastardly act and that the commission was not suspecting any politician or its member of staff.
Some residents of the area told NAN on condition of anonymity that the fire might have started in the night but was only noticed on Sunday morning.
It was further learnt that the number of burnt PVCs might not be less than 10,000, considering the heap of the items.
NAN reports that a similar fire razed down the Obingwa LGA INEC office in 2015, after a governorship election petition tribunal in Umuhia gave an order for the forensic inspection of the votes for the governorship poll in the area.


Many cultures show a long tradition of living on the water, representing the natural human need to live by the water. Nowadays, houseboats or floating homes can provide a new quality of live to areas with high population density and large bodies of water.
It was important to me not to build a simple log cabin a on the water, but to create a valuable home balancing modern design and maritime flair. This ambition is also reflected in the selection of materials.


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#LiveYoung: What Does Coming Out Mean To You?
Hot Stuff: Another One Of Your Fave Brands Just Released Its Own Line Of Strong, Pro-Pride Pieces!


text:
DIR="$( cd "$( dirname "${BASH_SOURCE[0]}" )" && pwd )"
data_dir="$(dirname "$DIR")/data"

runcmd() {
    echo "Running command:"
    echo -e "\t $@"
    eval "$@"
}

echo "The html table used in this example is sourced from:"
echo "https://en.wikipedia.org/wiki/List_of_countries_by_GDP_(nominal)"
echo "The table was cut and pasted from the page's source, but not cleaned up."
runcmd "gpopup-send $data_dir/wiki_gdp.html"


text:
FATA MORGANA (Herzog, 1971)
Blu-ray, Shout! Factory, Release Date July 19, 2014
How to make a movie the Werner Herzog Way, in four easy steps:
1) Show up in the Sahara Desert with a script for a science-fiction movie about an alien crew from the Andromeda Galaxy assigned to film a report about a strange planet called Earth.
2) Discard said science-fiction script on the first day of shooting because someone tells you that desert mirages can't be filmed and you, as both a Bavarian poet and a former Mexican rodeo rider, take that as a personal challenge.
3) Drive through multiple African desert nations in your rented VW van along with your tiny crew, filming whatever you find along the way until you get swept up in a coup d'etat in Cameroon and are thrown in an overcrowded jail where you almost die from malaria.
4) After being released from the Cameroonian prison, take your footage back to the editing room and create a masterpiece.
Yes, kids, it really is that simple.
Describing "Fata Morgana" (1971) is a daunting enough prospect, let alone interpreting it. Why does the film begin with over four minutes worth of footage of various planes landing in the shimmering heat of a desert runway? Why is every third person we meet wearing the same pair of goggles? Is that really Leonard Cohen we're hearing on the soundtrack?
The answer to the final question is yes. As for the other two, beats me. Not quite knowing what you're looking at or why you're looking at it is integral to the pleasure of a freewheeling film difficult to categorize as anything other than a hallucination. What I am certain of is that the one compelling argument this not-a-documentary makes is that there is nothing in cinema as mesmerizing as a long tracking shot.
Cinematographer Jorg Schmidt-Reitwein shoots from the roof of the VW van as Herzog drives past a sinuous ridge of sand dunes (some hand-sculpted by the production crew to create more evocative contours) as tiny billows of sand blow off in the hot breeze; the longer the tracking shot continues the more those billows start to look like sheer rippling fabric. Later, lengthy aerial shots glide across a landscape mottled with patches of ice, or maybe they're salt flats, or possibly desiccated earth. Have I mentioned yet that "Fata Morgana" means mirage?
For more than the first twenty minutes, this chimerical terrain is devoid of people, but Herzog doesn't intend to settle into any comfortable pattern here. Eventually we will meet a menagerie of animals and people, some staring directly into the camera for uncomfortably long moments, many appearing disoriented as they gesticulate insistently off-camera at... something. A group of boys led by a teacher declare that "War is madness" and an ersatz scientist captures a giant turtle only to release it so he has something to capture the next day.
As bizarre as that all sounds, Herzog's wildest invention is the soundtrack, combining narration and one of the most unpredictable selections of musical tracks you've ever heard. In voice-over, several different speakers (beginning with German film guru and Herzog mentor Lotte Eisner) relate a creation story partly inspired by the Mayan "Popul Vuh" mythos and only obliquely related to the actual footage. Surely there's an ironic connection between shots of bleached carcasses lying in the sand and a voice-over speaking about man's dominion over the animal kingdom. I suspect Herzog's main goal is to recontextualize all of his images to form a radical new perspective, situating the viewers as those Andromedans trying to make sense of a baffling new world. Planet Herzog, to be specific. The creation story is broken into three sections, each divided by the repeated image of a half-glimpsed vehicle (or something) turning circles at the edge of the horizon, perhaps the most enigmatic image in a film replete with them.
The musical track is stranger still, combining classical and ecclesiastically-tinged tunes with the otherworldly "Ghetto Raga" by Third Ear Band, and pop tracks from Blind Faith and the aforementioned Mr. Cohen. Curiouser and curiouser still is the manner in which Herzog self-consciously underscores his manipulation of the various musical cues. In a bravura five-minute tracking shot (a relentless glide to the right broken up only by one cutaway) over industrial detritus and the bleached trailers of a desert town, Herzog begins with silence, cranks up a lengthy excerpt from Cohen's "Suzanne," stops for a few lines of voice-over narration ("In Paradise, man is born dead."), then rolls into the bulk of Cohen's "So Long Marianne," all playing over that same almost unbroken tracking shot. You ask: Why? I respond: I've watched and listened to that sequence more than fifty times and I am overwhelmed on each viewing. Not only do I need not need to know why, I would dearly prefer not to.
The great critic and programmer Amos Vogel, an early Herzog booster, described "Fata Morgana" as "a cosmic pun on cinema verite." I'm not sure that conveys the core essence of the film, but the final section does descend fully into the absurd, beginning with the strangest musical act in cinemahistory (this one I've watched over a hundred times) and ending with confused tourists stumbling around in ditches (Herzog directed them to "turn the pig loose") and characters practically laughing themselves to death on screen, cf. the ending of "Even Dwarfs Started Small." If you want to hear the normally unflappable Herzog crack the hell up, just listen to the commentary track starting around the one hour, seven-minute mark.
That doesn't mean "Fata Morgana" is intended as a joke. It is playful at times, morbid at others. For the viewer who tunes into its wavelength, the film is a visionary experience that inspires wonder and sometimes outright awe as it creeps up to and kisses the sublime threshold. I also feel safe in claiming that there is absolutely nothing else like it, not even its semi-sequel "Lessons of Darkness" (1992).
But really, there's just no way to describe it.
Herzog Collection from Shout! Factory
The film is presented in its original 1.37:1 aspect ratio. The high-def transfer from Shout! Factory is another "meh" effort, perfectly serviceable but nothing to brag about. Some of the sun-baked desert shots looks somewhat washed-out and the mediocre bit rate doesn't present the sharpest image quality. It's fine, a slight improvement over the old Anchor Bay DVD which, by the way, has to qualify as one of the odder DVD anomalies since this all-time great film was merely included as a "Bonus DVD" for Anchor Bay's release of "Lessons of Darkness" (1992). Sure, "Lessons" is a hell of a movie too, and the two films are definitely spiritual siblings, but "Fata Morgana" only a "Bonus DVD"? That's a hell of a bonus.
Note: Images in this review are NOT taken from the Blu-ray.
The audio mix is competent if somewhat flat. No problems though. You can listen to the film with its German soundtrack or its English soundtrack (different narrators for both versions). Optional English subtitles support the audio, and can be a bit difficult to read over some of the whiter shots.
The only extra is a commentary track by Werner Herzog, along with moderator Norman Hill and just-hanging-out-that-day actor Crispin Glover. I keep repeating myself: Herzog's commentary tracks are a performance art unto themselves and can be enjoyed over and over again.
In this Shout! Factory box set, "Fata Morgana" shares the same Blu-ray disc as "Land of Silence and Darkness."
A top ten all-time film for me. It's one of the movies I can see when I close my eyes.
Labels: Documentary, Herzog.Werner
The Circus
The Cloud-Capped Star