Using NDoc I've generated an update version of the CHM code documentation for RSS Bandit. As you'll see (if you take a look) this documentation is by no means complete. Many of the public methods need better documentation. Also, there are no Namespace summaries yet. I plan to spend some time adding these summaries and some higher level API documentation.
This documentation is intended for interested developers and is meant to supplement the existing documentation at the RSS Bandit documentation website.
Included in the documentation are three main components: RSSBandit.exe, NewsComponents.dll, and RSSBandit.UnitTests.dll.
RSSBandit.exe is the main application code. The documentation here covers all the Forms in use etc.
NewsComponents.dll contains all the classes used to fetch and parse RSS feeds as well as NNTP. Much of core logic is contained in this assembly.


Shimla: Today, an overloaded Alto car carrying eight people met a horrible accident near Banuti in Shimla in which four persons including a 5-years-old kid, two women, and a man died on the spot while four others received serious injuries.
It's another indicator that the State Police and the public need to take overloading more seriously when the road safety is concerned.
As per the initial reports, the car fell into a 200-300 meter deep gorge. The impact of the accident torn the car to pieces. The car was crushed so badly that the locals, who first reached the spot, found it difficult to recover the injured.
The injured were rushed to the Indira Gandhi Medical College & Hospital in Shimla. The Superintendent of Police, Shimla, Ompati Jamwal, and IGMC confirmed the report of four casualties.
It is, however, still not known what caused the accident.
As per the initial report, the deceased persons have been identified as Devender Kumar (30), Hemant (4), Gayatri Devi (35), and Poonam (33).
The injured include Chunni Lal (65), Sachin (5), Kavya (5), and Narmada (28).
The Shimla district administration has provided immediate relief of Rs. 10,000 each to the relatives of deceased and Rs. 5000 to those injured.


A woman from Jackson, Mississippi has said that fake television news reporter Borat cost her her livelihood.
Dharma Arthur was a news producer for a live show on WAPT in the town when she booked the Kazakh journalist (aka comedian Sacha Baron Cohen), mistakenly believing that he was a real person.
Borat then went on to spout sexual jokes and turn the broadcast into mayhem. As a result of her booking, the producer says she was sacked.
"Because of [Baron Cohen], my boss lost faith in my abilities and second guessed everything I did thereafter," she tells Newsweek.
Sacha has not commented on the accusations – and so far he has not been sued.
For the time being, the comedian is probably more focused on tomorrow, when his movie is released around America. Already creating a big buzz, Twentieth Century Fox will be hoping good word-of-mouth translates into stellar box office.


text:
Home The Latest Animation News
'Lego Movie' Sequel Pegged for May 2017 Release Date
by Morgan Stradling
in The Latest Animation News, Warner Animation
The Lego Movie hadn't even been released when Warner Bros. announced that it was making a sequel. Now, the film has been out just a few short weeks and Box Office Mojo reports that The Lego Movie sequel is set for a May 26, 2017 release date.
No other films are set for this date (yet). It's in the sequel's best interest that no other family films pick this date, so that way the film can score big at the box office again. The Lego Movie didn't have any family-friendly competition when it opened, which allowed for families to pack theatre houses like sardines during its opening weekend. Three years from now, boys, kids and adults will probably be chomping at the bit for another action-packed, hilarious Lego film, so no matter what ends up opening alongside The Lego Movie 2, it seems Warner Brothers is due for another massive success.
No word on who will direct the new brick film and whether its voice talent will return. Although Jared Stern and another undisclosed writer will pen the sequel.
Tags: the lego movie 2
Be On 'Good Morning America' As You Let It Go
'Frozen' Now Available on iTunes – Download Now!
Morgan Stradling
Morgan is an Arizona native who's had a lifelong passion for animation. Her favorite animated films are Aladdin, Beauty & the Beast, and The Iron Giant. She earned an MBA in Marketing from Arizona State University and now runs her own business where she coaches and trains entrepreneurs how to launch, grow & scale successful online businesses.
'Frozen' Now Available on iTunes - Download Now!

redpajama_set_name: RedPajamaCommonCrawl


> be a key that doesn't syntactically behave as a method name.
> The test is erroneous in using all keys it finds as method names.
> It should skip ones that aren't syntactically OK.
Are you saying we should apply something like the patch attached?


Music has played an important role in my life for as long as I can remember. I am sure I am not alone in this sentiment as many of you must feel the same way. Who among us cannot visualize his or her life's story to the sound of the important music each has resonated with at various points in time? When we think of the greatest influencers throughout history, many have been music makers. So why does music have such a profound influence on us, our lives, and even the world, and on such a dramatically grand scale? It is because music is a primordial sensory archetype buried deep within our collective unconsciousness—that layer of consciousness lying just beneath our personal unconscious awareness, formed by millions of years of evolution, and common to all people. The psychoanalyst Carl Jung called it the lower stratum of the psyche, the source of instinctive behavior, those which come from the constant repetition of universal emotional experiences, like the rising and setting of the sun, wakefulness and sleep, happiness and sadness, conflict and resolution, and the change of seasons. Music, then, has the ability to touch that deeply unconscious part within us, bringing forth an intense appreciation of the beauty of the universal vibrations to which we all resonate.
Music is thus the archetype of all creation to human beings, and as such represents the most elemental feelings of beauty that reside within us. I would even go as far to say that all living things resonate to sound vibrations, and modern science continues to amass evidence in support of this notion.
So while music as a reflection of the primordial sound may connect us to all living things, another human attribute separates us from every other species: The ability to use models or symbols to expand our reality. Tool making is one such application of modeling, which actually helped separate our early ancestors from similar species that continued to cling to trees. In fact, tool making was one of a handful of skills that rapidly progressed our evolution into the world-dominating species we are today. And our persistent use of models and symbols over several millennia has led to technological advances that have ultimately resulted in the construction of massive civilizations, instantaneous trans-planetary communications, and regular exploration of outer space and the cosmos, along with a myriad of other marvels.
We have mastered this use of symbolism to expand our reality. Much of the advanced scientific thinking of today has started out initially as a model, theoretical at first, but after some observation and testing, the model is accepted or rejected as a reasonable representation of nature. What is Interesting is that we tend to look to nature itself to come up with ideas on how other aspects of it might operate. Call it an understanding we humans have—whether innate or via thousands of years of experience—that we find within nature a number of processes which repeat themselves. By simply looking at the histories of aviation, biotechnology, artificial intelligence and even warfare throughout the ages, we can see how nature has been the greatest influencer on human innovation. It is this ability to describe and understand our universe from the physical, to the mental, to the experiential, by creating models based on known natural processes that have expanded our thinking, and our reality, to where they stand today.
These two themes—the universality of music as a connector to the primordial sound of creation, and the uniquely human trait of using models and symbols to expand our reality—are what have captivated me most by the literary and philosophical work in front of you now. Harmonology: An Insider's Guide to Healthy Relationships Through Music came to my desk by means of a request from the work's author, Stephen O'Connor, to take a look at the book and possibly write a foreword. The author and I had met back in 2012 when, through a serendipitous bit of synchronicity, our paths crossed in the virtual universe, specifically the dimension of social media. I speak of our meeting as synchronous because, having read and reviewed his first book, Counterpoint to Reality, I became acutely aware that he and I had been destined to meet. And I paradoxically refer to our meeting as serendipitous because—as I sit here having just finished his current work—I feel a sense of gratitude for the great insights that I have received from the philosophy and model that is harmonology.
I have left the remainder of the foreword for you to read when you pick up this book, and I highly recommend you do so. The information contained within Harmonology: An Insider's Guide to Healthy Relationships Through Music, will give you valuable insights into your current relationships, your life experiences and yourself. I believe you will find, as I have, that Harmonology is fairly accurate in describing your current, past and even future relationships. Relationships are life's harmonies and we are the musical notes. Harmonology: An Insider's Guide to Healthy Relationships Through Music does an exquisite job of showing you exactly how these notes blend together to make up the symphony of your life. I hope you enjoy it as much as I have.


Happy new month everyone!!! *Dancing jigibambam* Can't believe it's December, the very last month and my favorite month of the year. With the holidays coming in full gear, i figured you might love to add this tasty appetizer to your list of mouthwatering meals to make this season. When momma came up with this recipe some years ago, we really didn't have a name for it so we called it Nadi's tomato delight. So, to keep it coming, my siblings and i had the habit of talking fondly about how tasty "Nadi's delight" is whenever she's within earshot and BAM! she'd make it whenever she had the time to. I guess naming this after her really makes a difference.
Eating tomato raw has lots and lots of health benefits such as; provide essential antioxidants the body needs, helps prevent several types of cancer, good for the heart,hair, skin, bones & kidney...the list goes on and on. You can serve it alone as an appetizer or as a side with any rice dish.
Step 1: For this recipe, it's always good to use ripe and strong tomatoes. Wash the tomatoes and Slice off the top part (just the way you slice off the top of an orange).
Step 3: In a small bowl, add the sardine (mashed), onion (diced), hard boiled eggs (diced), part of the removed inner tomatoes and mayonnaise. Mix it all together. Use this mixture to fill up the tomato cups and refrigerate.
This looks so gud. would give it a try.
This na Chinese something. It is well.
Very nice! I'm definitely giving this a try.
This is one of my favorite food item but I was not knowing the recipe to prepare it my own.I am very happy to see the recipe here. I will definitely try this. And yes Thanks a lot for sharing the recipe.


Early Life – Joy was born in Dawley, Shropshire, now amalgamated with Telford, near Wellington. After her schooling, in 1952, she got a job in Selfridges and lived in Wigmore Street where they had a girls' hostel. She went to St Martin's Art School in the evenings. A week after Joy had arrived her friend, Maggie, took her to a party in Old Church Street, Chelsea. An old gentleman came over to ask her to dance. It was a party for his model's French boyfriend, on Bastille day, July 14th. He wanted to leave the party and asked Joy to go too and see his sculptures in his flat in Green Street. That is how their friendship started.
Marriage – Joy came into his life when he was having a low time and she helped him a lot without knowing it. He started introducing her to his friends, which was difficult for her as she had never met people like that before. Arthur was 34 years older than Joy. She was looking for different things in life. Arthur was so pleased to teach her. He took her to Paris. He loved classical music. She wanted to learn, and to be open to art. Joy's teacher, Stella Marsden, knew Arthur, as her father was also a sculptor. Years later she told Joy that she had been worried about how Joy would cope with being married to a sculptor, which is so demanding. Arthur had not been married or had children before. She married Arthur four years later in 1956.
World Expo – They had met Father William Kahle who played a big role in their lives. Arthur was a lapsed Catholic and returned to the church and Father William instructed Joy. The first time she went to a Catholic service was when Arthur took her to midnight mass at Westminster Cathedral. He gave Arthur and Joy the introduction to Cardinal Bea, he had permission to do things for the Vatican. Then they met Monsignor Gordon Wheeler, who was the administrator at the Cathedral. This was 1957. He was on the committee for theVatican pavilion for the World Expo in 1958. Arthur was asked to do a maquette for the main hall. There was a competition for a huge sculpture in the main hall.
The Work – Arthur was chosen and commissioned. At the celebration dinner Joy was taken aside and told that a lot of the responsibility was hers. It was a huge work for an older man to get done on time, it was the first occasion that Joy realised that she was not just the person who tagged along. It was very hard going because Arthur had never done anything that size. He had to work with other people he did not know. It was the resurrection of Christ and the resurrection of the people too. It had to be sent to Brussels, so they rented a flat there and Joy went to the site and worked all day with him. Joy spoke reasonable French and got friendly with the foreman. It was winter time, freezing, and one did not wear trousers in those days.
The Risen Christ was controversial, but it was so powerful, and was constructivist in style. People flocked to see it. It was amazing! After the Expo everything had to come back to the country of origin, so then they had to dismantle it, but Arthur had 'flu and Joy had to supervise this. Westminster Cathedral put it in the crypt and it has never been used again. Some of the panels are at the bottom of the garden in Carlton Hill, but the whole thing is too huge. Joy has good photographs and a medal from the Pope (John XXIII). They had an interesting time during the exhibition with the visitors. For the British Pavilion Arthur did a coat of arms and the statue of Lot's Wife which was carved out of a solid block of Perspex.
Finding the Studio in Carlton Hill – Arthur had known Frederick Lam, a Viennese architect, who lived in Abercorn Place, and they were very friendly. Mr Lam had found the studio in Green Street for Arthur, which consisted of the billiard rooms from two separate houses. Alice Lam was like a mother to Joy and taught her to make Austrian dishes which Arthur liked. Then Mr Lam found the studio in St John's Wood. He had built houses there. Arthur and Joy came to see Carlton Hill. It was very dimly lit and owned by an Irish painter, who only at the last minute showed them the studio and the garden and then they fell for it.
Arthur's background – Arthur had been born in Bratislava, which was not called that then. It was Hungarian, then Czech, then Slovakian. He talked about his mother and Prague and Vienna. He talked incessantly about Bali, an artist's paradise, but the Japanese invaded and he fled to Australia.
"He got out on the last plane and the plane flew to Darwin, a great cultural shock – the end. But he was very grateful to the Australians who accepted him, and he went to Sydney and he was very fortunate because there was only one other sculptor there at the time and he got a lot of public commissions".
He wanted to claim his house in Bratislava after the war ended, but when the ship docked in Southamptonthe communists had just walked in there. Neither did he go back to Australia. His last sculpture was commissioned by the State Library in Sydney, New South Wales, and he only completed it just before he died.
Coming to Carlton Hill – They bought the lease of the house in Carlton Hill. It was totally different. They had had very little living accommodation in Mayfair.
"I loved being able to walk out into the garden with the trees, and loved walking round Hamilton Terrace and Alma Square and little Violet Hill, it was a much more healthy, life totally different from Selfridges and Mayfair. It was a wonderful thing that we did. Yes. The studio was built for Sir George Frampton and as I find out now, he bought the main house and he had moved to Carlton Hill because of the large garden. There were just about three people who lived there, Frampton, Inchbald, a designer, then this Irish painter. I really loved it in Carlton Hill. It was in a state of disrepair and it had partitions in the studio for the painter to have hooks for his paintings. It is not so good as a painting studio because it has a lot of window space. We removed the partitions bit by bit. An alcove became our dining room.Then upstairs we made a floor in part of the attic to take tools and that but you could hardly open the door. Everywhere things were "Oh we'll need this for that", and the whole house seemed to be full of bits of wire and stone and all this, everywhere was crowded with things that might come in useful.".
Joy thought St. John's Wood was absolutely lovely when she came at the end of the 1950s. She could breathe clean air and it was very friendly. She didn't know where to go shopping at first. There were fewer shops then, now there are lots, open for 24 hours. They had good butchers though.
Dominique – Dominique was born in 1961 and Joy was grateful to have the garden. No-one got on buses with pushchairs then. Dominique went to Gitta's kindergarten in Carlton Hill and she met other mothers who became lifelong friends. There was a huge garden at the back of the property which was wild, so the children from 94 and 88 and others used to play there and they were all safe. There were apple and pear trees. It had been thegarden of Sir George Frampton, it combined 96, 94 and 92. There was a walled circle with roses in the middle. The Harrow School Trust owned the whole area. Eventually the land was sold to a developer and six houses of two storeys were built. The Fleischmanns had a right of way across the land in order to get the sculptures out. Joy makes sure that she is in charge when vehicles use it today as the people in the close are worried about security.
Joy loved being a mother, they doted on the child. Arthur was 65 when Dominique was born. Arthur was good at looking after him, having been a doctor at one time. Joy was nervous. Cardinal Bea visited from Rome and came for lunch. Joy thinks of him in his long robes talking to Dominique in his playpen. People came to the studio all the time and Joy had no help. Dominique had the life sized mermaid in his bedroom because there was nowhere else to put it. When people came for a meal everything had to be moved.
Local Artists – Kormis was a sculptor in Boundary Road. Kormis was not very successful and seemed sad. Willi Soukop was another. Gilbert Bayes did the relief outside Lords cricket ground and his studio was at the bottom of their garden. He had died and Joy went to his daughter's classes. She had them copying postcards of old masters. Joy however, painted the sculptures in the garden and was grateful for the opportunity to get started.
Joy had done no art herself while Arthur was alive, as she was at his beck and call, typing, driving and kneading the clay, working with him. She gave him breakfast in bed and a massage before he got up. He was good at ideas.
"The bread and butter thing was portraits and I would have to do the armature and pass him the hammer and nails and the chicken wire and then make sausages from the clay and then he would start putting the clay on the armature in time for when the sitter came and then I would just be talking to the sitter and make the tea and then when the clay bust had to go to the foundry it would have to be loaded into the back of the car and I would take it to the foundry, so I knew all the different foundries. I hated driving with the clay busts, I was nervous.
Artists – Arthur did Sir Charles Mackerras way back in the 1950s. In Green Street they had been invited to a concert and met him. His wife, Judy, and Joy became good friends. Charles was a terrible sitter as he wouldn't keep still. Judy's whole life, like Joy's, was dedicated to her husband, they had a lot in common. Joy wanted to sell a harp, but it didn't fetch the reserve price. Judy suggested they should hold a concert to raise funds for the museum in Bratislava. Father Oliver from the church of St Francis of Assisi in Notting Hill agreed to hold it. Dominique and Judy recorded it and worked well together. Judy Hornby and her husband and son were also involved. The younger son Nick copied Arthur's work and became a sculptor himself. The artistic life was part of St John's Wood. There was the artist who did the glass engravings in Coventry Cathedral, Soukop from Vienna, he was successful and was charming. He did a lot of wood carving and Joy gave him some trunks of wood. Another friend was Sir Charles Wheeler and his wife Muriel and they went to many parties of theirs in Chelsea. Charles did a portrait bust of Francis Chichester. Another party was for Yehudi Menhuin. Their painter friends didn't live in St. John's Wood.
Father Dore – They attended Farm Street Church. Then they got visited by the priest from Quex Road, they were the only non Irish people in the congregation.
Arthur did not really encourage Joy in her painting. He was working till about three weeks before he died. He relied on Joy totally. She was strict in not letting too many people bother him. In 1989 he had the commission for the State Library in Sydney, and he completed it, and they went to Tenerife in January and he died at the beginning of March. The body was flown back. The worst day of her life was coming back to the studio.
"When Arthur travelled from Sydney to London after the war he met on the ship Walter Worboys and this man was a director of ICI in the plastics division and he said you must come down to Welwyn Garden and see our latest plastic material. So he went down and they showed him this block of Perspex and they had an electric drill and said would you like to try it and so he tried it and he said it would be better if he tried it with his own tools so they said "well have the block" and that is how it started. That was 1949 as early as that. It was the first one he ever carved and he actually signed it and put the date.
He used a mixture of wood carving and marble carving tools and found that they needed sharpening a lot. There were a lot of little splinters and he was supposed to wear a mask because some of these little splinters got in his eye and I remember many times going to Marylebone Western Eye hospital and of course to see a bit of Perspex was so hard. It had its hazards but he fell in love with that material and of course ICI were overjoyed as they were just launching it and it was something new and they paid any amount for the photographs and they gave him the blocks and they got a lot of publicity from it.
Arthur's Legacy – Joy was very enthusiastic about preserving Arthur's work. Dominique helped. Joy was dedicated. She had to go to Australia for the unveiling of the fountain and she cultivated the support there. She kept up that contact. Dominique went to Bratislava and started the contacts there. In 1996 they had the centenary exhibition and they had the permanent place there. Gradually it started.
Westminster City Council – Westminster unveiled the green plaque on the house in 1998. The sculpture of Semaphore in Lisson Green was commissioned by the council when they were doing the new estate and it was to be in the centre there.
"Arthur did research and found out that that was where the railway yards had been and the canal was nearby and he conceived this idea of this long boat and in the middle this semaphore, the red and the green, stop and go, flagging down the trains. It was quite large in Perspex and the water would flow all over it. When it was complete the council decided that they couldn't put it in this complex because it would be ruined as everything was being ruined, so they said it should be stored, so we put it in the famous old shed at the bottom of the garden, and it stayed there for 20 years.
One day I said we should get it out as it was one of the best pieces, so we got it out and erected it and then I thought I would get in touch with Westminster, different people were coming for a whole year, and at one stage they discussed putting it in the Archives building and then they decided to put it in the residential home in Paddington and that is where it is. They landscaped the whole thing and it is very well done. I have written a whole list of all the things we did. There were always plaques being unveiled. I was lucky meeting the right people at the right time".
Joy's Own Art – In 1991, or 1992, Joy started drawing, very modestly. Then she started going to the Royal College to do a life class. She enjoyed it very much. It was suggested that she start a class in her studio maybe 10 years ago. It is wonderful that the studio is used. Joy used to be keen on getting a likeness of the model, now she is keen to have it flowing. She sees things much more clearly. The main thing is that she enjoys it.
Religious Sculptures – Some of Arthur's work is very moving particularly the religious sculptures. He did the Stations of the Cross at Hinkley in Leicestershire, 14 of them. He did it quickly. When he first started doing something the work was so spontaneous, and then if you keep working on it you can lose something. Some of the maquettes he did during the 1980s are lovely. He never had the opportunity to do anything really big except the Christ for the Expo. There is one maquette in bronze of 6 inches. Joy did try to influence them at Westminster Cathedral to put one in the courtyard there. It was an abstract called Communication.
Next year Joy would like to get her friend Philip who is an art historian doing tours of London, to conduct a tour of the Fleishmann sculptures of which there are about 20.
"I can't think of anything I don't like about St John's Wood really, I think it is very civilised. It has still a certain elegance and it is a good mixture, you know you have got the housing estates which they have tried to beautify, not necessarily very successfully, and there is variety.
We are very lucky where we live aren't we, these streets like Blenheim Road and Clifton Hill? And we haven't got Macdonalds plonked in the middle of it and the garages have all gone, and we have the zebra crossing which puts it on the map and there are some beautiful gardens, old world gardens, some are too neat and tidy but you go down some of those roads and I enjoy just looking into the gardens with the roses and the clematis and some are just all white.
This page was added on 26/10/2011.


PEI Talk • View topic - Good cheap wine?
Post subject: Re: Good cheap wine?
Agreed, more a cooler then a wine, and depending on where they are sold they are marked as one or the other ... E&J Gallo produces it. Lots of good flavors. Great as a base for punches.
If you want a cheap wine my wife and her friends choose the Booneys Hill wine which is $5.99 a bottle. There is different kinds they like strawberry. It is also great to cook with.
I have to know what you cook with Boone's wine..
Pour into Bundt pan. Bake at 350 degrees for 45 - 55 minutes or until toothpick comes out clean. Let set for 10 minutes to cool before inverting onto plate.
And I did strawberry wine in the slow cooker with chicken breasts ... excellent.
I have made the cake .. it is really good. The red wine and cooking red meat is good too.
g-unit singlecougar beat me to telling u what i use it for. I also use it as a marinade for steaks. I find it makes the meat nice and tender. As for what singlecougar does is goood too.
A very good sparkling fruit wine from France is Cafe De Paris Litchi, you can't get it on the Island yet but they have it at the Moncton liquor store and its $16.99 a bottle.
Three words that should never be used together.
All you people who don't like my opinion please note the sprig of mistletoe attached to my shirt tail.
there is this wine i've yet to try, but have heard rave reviews from the most pickiest wine drinkers called "fusion". it's an argentina wine, i believe, and it retails at about $7.50. apparently, it's super awesome. and at that price, super cheap!
Yeah "Fuzion" is like 9.79 or something on PEI but everyone seems to love it.. it's pretty much always sold out. There's a white and a red but the red seems most popular.. I think it's a Malbec. My favorite cheap wine is French Cross Pinot Grigio. it's $10 and delicious.
Oops, spelled it wrong! heeh. i haven't been into the LCBOs lately (i work in another wine shop, with just canadian wines); and yes, the red is a Malbec.
Three words that should always be used together actually.
It's not very smart to spend $50 on a bottle of wine when there are a hundred better wines for less than $20.
By referring to Liberals as the loony left you show your ignorance and lack of ability to argue a valid point.
Finally tried the Fuzion wines (both red and white) this past wednesday.
yuM! very tasty. more on the 'sweet' side, but is not a sweet wine. The semillon gives it a very warm mouth feel, very full. The chard does give it a semi-dry finish.
Funny thing was though: they charged $8/glass...at the LCBO, it's $7.95 a bottle.
Fuzion seems to be the most popular wine on the planet these days.
I think it deserves it popularity.
Very good, very cheap wine.
At least it is very cheap if you buy it in the right places.
$8.00 for a glass is way out of line.
Anyone know of a good Blueberry wine?
Not Rossingnol's ... use to love it .. hate it now.
Well, for cheap white wine that there's always the classic: Black Tower ($10/750 mL). They now have a Black Tower Red Wine but I haven't tried it. Folks who like this one also generally seem to like Blue Nun as well. Both wines are from Germany and quite light on the alcohol (under 10%) but I find Black Tower sneaks up on you. A night of chatting and two folks can put away a bottle or two without really noticing.
An Ontario White Wine (not sure if it's in the stores in PEI) is Pelee Island Monarch Vidal. A very light wine that I find fits in with even the most casual dinners (fast food not withstanding).
My favorite wine is a PEI wine - Rossignol. It's a really sweet red wine, pretty sure it's an 03 I think it's around $15.00 a bottle and it's in a tall blue bottle.
My husband picks on me and says I may as well drink grape juice but it's good! I used it as a starter wine and then moved on to other kinds, I guess it kind of helped to develop a taste. I still prefer sweeter wines but it could be a place to start.


Discus and support windows doesn't go hibernate in Windows 10 Customization to solve the problem; Hi firstly sorry about my bad english. i have a problem with my windows. when i hibernate my laptop it doesn't go hibernate. screen become off and on... Discussion in 'Windows 10 Customization' started by mycenterprises, Feb 12, 2019.
firstly sorry about my bad english.
i have a problem with my windows. when i hibernate my laptop it doesn't go hibernate. screen become off and on after some seconds. i have no choice except shut down .
must manually configure hibernation and sleep behavior.
Select the Power Options control panel.
Choose your current power plan.
Set the time period after which to hibernate.
I have just reloaded XP Pro on my system using the same software as before, no new hardware or software has been introduced.
Since doing this the system appears to go through the Hibernation process as it closes, but when I start again by pressing the Power button the system goes through the normal start up, not the quicker hibernate mode.
I have selected Enable Hibernate in the Control Panel>Power options?
Any constructve suggestions out there?


Cellomwé! In the world of Dolennar that is Elvish for welcome. I am Molly Evangeline, author of Makilien and the historical Pirates & Faith series. For years I have had a deep love for fantasy worlds ever since discovering The Lord of the Rings at age thirteen. That epic story started me creating my own realms of fantasy creatures and epic struggles.
A homeschool graduate, I had plenty of time to feed a very active imagination growing up. I spent hours as a child and teenager with my younger brothers on countless adventures ranging from our backyard to my family's forest property. With an imagination still as active as it was then, I now put my love for adventure into books to share with others.
My Makilien Trilogy is the first fantasy series I ever began writing years ago, and though the story has changed over time, it has always stuck with me. A story that is very close to my heart, I am excited to share not only the adventure of Makilien, but the message.


text:
Vodafone creates a national digital twin with the help of Esri GIS technology | Geo Week News
One engineer referred to the digital twin as "like Minecraft for data scientists."
In the last 20 years, the use of mobile phones has become almost ubiquitous in global society, to the point where most of us don't even think about it; it is simply a part of life. However, keeping these networks alive and growing them to keep up with ever-improving technology is easier said than done, and it's a constant process with increasing urbanization bringing more potential disruption to networks. Telecommunications companies have a vast network of cell towers, or mobile masts, and antennas to maintain connectivity, and with evolving technology along with the regular deterioration of infrastructure, it is necessary to build new mobile masts and adjust existing ones. . All this makes the process complicated on the part of telecommunications.
vodafoneone of Europe's largest telecommunications companies, is working to make that process more efficient for its engineers, with the help of esriGIS software and the experience of . Working specifically in the UK, Vodafone created a national digital twin of its entire mobile antenna network across the country, providing its engineers with an accurate, interactive 3D model that can be used to strategize on how it can improve existing networks and Expand your network to serve you better. your customers, all without having to physically go to the sites of these mobile masts.
Creating this digital twin requires a lot of data, so Vodafone turns to Esri's ArcGIS Enterprise platform, which "combines web mapping, imagery exploitation, real-time data handling, high-volume batch analysis, and spatial data science." To create the model, Vodafone used satellite data to map the entire terrain, focusing on matching the dimensions of buildings and other potential barriers to service. Vodafone's GIS Director, Dr. Rebecca King, said in a press release about using ArcGIS Enterprise: "Using ArcGIS Enterprise has allowed us to add the spatial dimension to a large amount of data that we were already working with. , resulting in new levels of location intelligence."
As a result, the company's engineers now have a tool with which they can make informed decisions about how to best tune the company's network. The national digital twin provides the Vodafone team with precise knowledge of the precise location of buildings, hills, valleys and trees, all of which can disrupt or slow down the connection between the masts. With this knowledge, the business can more efficiently plan where to position new mobile sites for maximum connection, as well as identify areas where upgrades or repositioning may be necessary. As an added benefit, the company also reduces its carbon footprint by not requiring physical site visits to make these decisions. With the expected proliferation of 5G in our cellular network, assistance with these types of decisions is even more important.
via Esri
This is a big step for Vodafone and its team of engineers, but it's only one, as the company looks to continue adding more digitization to its workflows in the future. With this project so far looking like a success, they are now looking to test similar digital twins in other markets in Europe, targeting Germany and Turkey as potential next locations. In addition, the company also plans to use this technology to support the release of new features like Massive MIMO, which strengthens capacity at individual sites. Vodafone notes that the network of connected devices is expected to grow globally to 30 billion by 2025, so these types of improvements will be necessary to keep up with that growth.
That also helps explain the company's "Vodafone 2025" strategy, in which they seek to automate as much of their network as possible to respond more quickly to customer demands. Right now, around 70 percent of its European network is in its "on-premises" cloud, with the goal of reaching 100 percent by 2025.
This type of digital twin is a necessary step given the near universal use of cell phones and other connected devices, particularly given the expected growth in that area and the introduction of 5G. It's a sentiment shared by Vodafone's chief architect, Boris Pitchforth, who says in a press release that this digital twin is "like Minecraft for data scientists" adding: "We can be smarter and faster about how and where we add new 5G features". and the target capacity increases with greater precision. There is also the added benefit of being able to reduce our carbon footprint as our engineers will not need to make as many site visits, especially to masts in remote areas."
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Self-paced e-learning programs reached $51.5 billion in sales in 2017. That's up $15 billion from $35.5 billion just 5 years back. Any business owner big or small must consider some sort of membership offering. It enables you to produce your content once and then sell it over and over again creating a new profitable revenue stream.
Pam Hendrickson Consulting Group covers this trend in their report 2018 Membership Site Trend Report: The Future of Business is in an Online Class of it's Own. It covers trends in this space and gives some practical advice for business owners wanting in on this.
Let me go over one point she makes that is so important.
I see this a lot. Someone builds their online course and it's like Tolstoy's War and Peace (which runs 1,225 pages). It includes everything the expert knows from their 20+ years in the field. It seems they are wanting to teach their students what it took them a lifetime to learn. It's NOT what their audience wants and most likely will overwhelm anyone signing up for their program anyway.
First of all, the person taking your course doesn't want to become the expert you are in the field. They want to accomplish something and they see you as the person that can give them a hand with it.
Second, do you really want to spend time developing a 75 lesson online course? Do you have the time to spend on a project that involved? If you did, wouldn't you first want to take a step-by-step approach that confirms your market will buy what you are selling? I know I would want to test and confirm my assumptions before I invest a lot of time and money on anything.
proves you have something people will buy.
You have an audience that knows you. You need to tap into that audience with an offer that helps them to overcome their doubts about learning what it is you teach.
Remember, your members are NOT waking up thinking, I need a course. They are thinking, I need to accomplish this one thing. They are thinking, I need "something" that gets me closer to that goal. If you can give them that "something" and it gets them to that goal, you have a winner. That is not going to be college level textbook girth. It's going to be something they can accomplish in 4 to 8 weeks.
BTW, my Breakthrough Course Building System, is focused 100% on identifying that MVP. It's a six week program fully aimed at defining and proving it will sell.
"Superfan" Wonders: Do email courses hurt your open rates?


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Skyline Council Hosts Whitney Schoolhouse Celebration: Press Release
Kaitlyn McAvoy
Communications Manager, Landmarks Illinois
kmcavoy@landmarks.org
Skyline Council of Landmarks Illinois Hosts Whitney Schoolhouse Celebration with Campton Township July 20
CHICAGO – The Skyline Council of Landmarks Illinois is partnering with Campton Township to host the Whitney Schoolhouse Celebration July 20, 2019, on the grounds of the historic, 1852 Whitney Schoolhouse in Kane County. The event allows community members to see up close the second-oldest, one-room schoolhouse in northeastern Illinois and tour other historic sites on the Daniel Whitney Residence and Farmstead, located at 40W011 Burlington Road, at the intersection of Old Burlington and Wasco Roads. Pioneer activities, live music and food for purchase are also part of the event.
The Skyline Council has been working to restore the pre-Civil War Whitney Schoolhouse for the last four years. For a time, the council was working to move the schoolhouse to a new location to ensure its preservation. However, Campton Township is acquiring the 6.1-acre farmstead where the historic schoolhouse is located from previous property owners Karen and Art Gustafson, who owned it for over 50 years. The Whitney family owned the land until 1934. The township's acquisition means the historic Whitney Schoolhouse, as well as other historic structures on the land, including the Daniel Whitney residence and agricultural outbuildings, will be preserved.
"As we approach the 170-year anniversary of the opening of the Whitney Schoolhouse, it's an exciting opportunity to preserve the schoolhouse in its original location," said Erica Ruggiero, a member of the Skyline Council who has led the schoolhouse restoration project. "Our work also protects the architectural legacy of the Whitney Family, the heritage of historic Wasco and the native landscapes of Campton Township, and Illinois."
To date, the Skyline Council and Campton Township have raised over $130,000 in pro-bono services, donated supplies and grants to complete investigative work, clean-up, structural repairs, a new foundation and other restoration work for the schoolhouse. Skyline Council is continuing to take donations to help with the exterior restoration of Whitney Schoolhouse. You can donate at the Skyline Council's GoFundMe page. The committee is actively looking to partner with qualified individuals and companies in the building trades as well to provide pro-bono services for additional future restoration work.
The Whitney Schoolhouse Celebration takes place 10 a.m. to 1 p.m. Guest can take part in pioneer activities and enjoy live music by Matthew Janecek & The Western Sage. Food will be available for purchase from The Lodge on 64.
Learn more about the Skyline Council of Landmarks Illinois and Campton Township's partnership to preserve the Whitney Schoolhouse by visiting: http://www.landmarks.org/skyline-council/
About Landmarks Illinois
Landmarks Illinois is a membership-based nonprofit organization serving the people of Illinois. We inspire and empower stakeholders to save places that matter to them by providing free guidance, practical and financial resources and access to strategic partnerships. For more information, visit www.Landmarks.org.
Preservationists seeking to restore, move a one-room 1852 schoolhouse in Campton Township
Chicago Tribune, March 15, 2018
Effort underway in Kane County to save 1854 schoolhouse
Daily Herald, March 18, 2018
SKYLINE COUNCIL WORKS TO RESTORE PRE-CIVIL WAR SCHOOLHOUSE IN CAMPTON HILLS
Kane County Connects, January 31, 2018
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Diabetes mellitus alters the mechanical properties of the native tendon in an experimental rat model.
This study is sticking with the same diabetes and tendon injury theme as my last post. This is a topic that has recently been getting more attention in the literature. Like I said in the last post, diabetes, whether type II or type I, has been on the rise and this is an important topic in sports medicine. This study used the same rat model described in the previous post to examine the effects of diabetes on tendon properties except this time the patellar tendon was used. One group had diabetes induced and the other served as a non-diabetic control. At 12 and 19 days after induction of diabetes, biomechanics and histology were performed to assess the native tendon properties. The patella tendons from diabetic rats failed (tore) at the tendon midsubstance more frequently compared to controls. Modulus (normalized tissue strength) was also decreased in the diabetic rats at 19 days induction.
These findings suggest that diabetes has a detrimental affect on the structural properties of tendon. It is difficult to determine if this is a global change to all tendons in the body or if it is variable based on the structure and function of specific tendons. However, based on previous diabetes research, hyperglycemia has a chemical reaction to collagen, so there may be a global effect and any tendon is at risk for tendinopathy in diabetic athletes. Combining the two results together, diabetic athletes should be closely monitored and advised to perform proper stretching and strengthening programs to maintain tendon strength, which is diminished based on this rat model. Diabetic athletes may also require longer durations to recover from workouts and tendon injury due to the decreased ability to heal. Again proper nutrition may help reduce hyperglycemia, which seems to be the culprit in this disease.


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miladysboudoir
"There is no surer foundation for a beautiful friendship than a mutual taste in literature."
About : Barbara
More Watery Landscapes in Tivoli : The Villa D'Este and The Villa Gregoriana
Apr6 by miladysboudoir
Perhaps the most famous location in the town of Tivoli itself is the Garden of the Villa D'Este. The sun was shining on my last day at Sant' Antonio and I decided that I would visit the garden and that of the nearby Villa Gregoriana.
Thursday 19 March just happened to be St Joseph's Day (Father's Day) and a big celebration filled the town centre of Tivoli. Was this the reason why the Gardens of the Villas D'Este and Gregoriana were practically deserted that morning? Anyway, it was very pleasant to have the gardens virtually to myself.
Cardinal Hippolyte D'Este (1509-1572) became governor of Tivoli and set about establishing a garden. Today it's approached from the house but originally the entrance was at the bottom of the garden and visitors slowly climbed the hill to take in the wonders of the garden. Upon reaching the top, where the Cardinal would be waiting, you'd be in a 'sense of breathless awe'. (According to Monty Don in the 2011 series of BBC programmes visiting Italian Gardens).
The View from the Villa
D'Este had great wealth but the one thing he wanted above all was to be Pope. He failed in 1549. So he demolished streets and had water brought to the site by a sophisticated method from a nearby aqueduct. All the water still comes from this same source and using the same methods. No pumps are used and the whole is still powered by pressure. The speed and movement of the water are still controlled by different sized pipes and spouts.
The whole estate took 20 years to construct during which time the Cardinal made 5 attempts to become Pope. Here "Rometta" is his model of Rome – he never did achieve his goal. Here is an expression of power built to impress. But he ran up huge debts: the whole project is said to have cost the equivalent of £100 million in today's money.
Fontana di Rometta
The 100 Fountains – they have the same rhythm and sound as you walk along beside them
Pegasus Fountain
The Organ Fountain Plays Every Two Hours on the Half Hour
It's a wonderful theatrical performance full of drama and excitement; entertainment and playfulness with surprises and jokes. In addition to the gardens you can visit the mansion atop the hill the mansion is open too – room after room of breath-taking painted ceilings but little else. Like Hadrian's Villa the Villa D'Este is a UNESCO World Heritage Site.
I spent over two hours wandering around the gardens and house but felt the call of the Villa Greogoriana and, ultimately, Sant' Antonio.
The Grand Cascade
The Grand Cascade from my window at Sant' Antonio
The Park of the Villa Gregoriana, for the Villa itself is no more, fills both sides of a wooded gorge where the waters of the River Aniene spill over precipices and lie still in pools in the valley bottom, is perhaps my favourite of the three gardens of Tivoli. Much of it, including the huge waterfall, can be seen from Sant' Antonio and it appears more natural and less planned than the other two. Sant' Antonio can be seen from the park.
Sant' Antonio from the Villa Gregoriana
If you ever plan to visit be sure to wear strong, rubber-soled walking shoes as the paths and steps are uneven and slippery when wet and take your National Trust card with you, if you're a member. Entry is free to NT members. The FAI in Italy aims to preserve Italy's art, nature and landscape and has reciprocal arrangements with our National Trust.
Remains of the Villa of Manlius Vopiscus
Roman Wall inside the Villa remains
"The park was commissioned by Pope Gregory XVI to rebuild the bed of the Aniene River, which had been damaged by the terrible flood of 1826. It had fallen into rack and ruin by the end of the 20th century, but has been reopened to the public in 2005 thanks to a major landscape recovery project orchestrated by FAI, the Italian National Trust.
It was in 1835, after the Aniene River had burst its banks yet again, that Pope Gregory XVI decided to transform this enchanting but extremely dangerous location into a model of integration between art and nature. The project saw a tunnel being dug through Mount Catillo in order to deviate the river and thus preserve the town of Tivoli. This was then followed by the construction of an extraordinary natural garden dominated by the acropolis with Vesta and Tiburno's Temples.
As you walk through the thick woodland of Parco Villa Gregoriana you will discover the delightful combination of the majestic landscape and the tranquillity of the paths that meander through it. En route, you will get to the caves of Neptune and of the Sirens, which form part of an incredible series of gorges and cascades, and to the Great Waterfall, with its whirling mass of water that seems to fall directly onto those who stand and gaze at it."
The Cave of the Sirens
Views of the Valley of Hell from Upper Viewpoints
According to the leaflet/map guide to the gardens "Goethe was among those who were amazed by the area. 'I was recently in Tivoli, where I admired a breathtaking natural spectacle. The sight of the waterfall there, along with the ruins and the whole landscape, greatly enriches the soul'. Goethe visited during the heyday of the Grand Tour, when Italy was the destination of choice for upper-class travellers from all across Europe, affording them and unrivalled classical education." And this was long before Pope Gregory XVI's re-creation of the original garden.
This entry was posted in Milady ventures overseas and tagged Fountains, Gardens, Goethe, Italy, National Trust, Tivoli, UNESCO World Heritage Sites.
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6 comments on "More Watery Landscapes in Tivoli : The Villa D'Este and The Villa Gregoriana"
I imagine the sound of all that cascading water can be heard at some distance. Seeing your photos I recall the Monty Don programme.
miladysboudoir says:
I've watched the Monty Don programme a few times on DVD but I wasn't able to find a Youtube recording. I also have a .mov recording of the fountains but haven't worked out how to add it to my post. Sorry!! But you are right, Fran, the noise is incredible.
Julie Stivers says:
Yet another wonderful spot. I love the fountains — one of my favorite places on our brief trip to Russia was the fountains at Peterhof, Peter the Great's "summer house", also all driven without pumps. Incredible.
Hi, Julie, I visited Peterhof in 1968 – doesn't sound to have changed!
Ruth O. says:
I visited Villa D' Este last year and it is a magical place! Loved it! It was pouring rain when we were there but still beautiful.
Luckily I had a nice day, Ruth, but most of the week the weather was poor
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The recent bushfires in New South Wales have prompted belated regrets there about the failure of the state fire authorities to conduct sufficient fuel-reduction burn-offs beforehand to prevent this catastrophe.
In light of this, what steps are being taken to re-introduce cattle-grazing in Victoria's alpine high country?
It was originally banned in 2005 by Victoria's Steve Bracks Labor government, then briefly re-introduced, as a limited trial, in 2011 by the Baillieu Liberal government until the then federal Labor Environment Minister, Tony Burke, intervened to overrule Victoria (see News Weekly, May 28, 2011).
Now that we have had a change of federal government, one would hope that the idea will be explored again.


So, it's been over a week since NaNoWriMo started. How's everyone doing? I'm doing well, as of writing my word count is 15,717. I know some of you may have already hit 50,000, but being on track is still good enough for me.
This brings me to the next thing I want to say. I haven't made a story post in over a week and I'm very sorry about that. Unfortunately, I don't think I'll be able to keep my schedule of a story a week while also keeping up with NaNoWriMo. So, it is with a heavy heart that I must say, I won't be posting another story until December. To anybody who reads and enjoys my stories, I'm sorry. There will be more in December.


Exhibit Overview: This year's Museum of Science and Industry's beloved holiday tradition, Christmas Around the World and Holidays of Light, runs from Nov. 14, 2008 until Jan. 4, 2009. The tradition began in 1942 as a United Nations Day salute to American allies during World War II. In its first year, a dozen trees graced the Museum's halls. Now in its 67th year, the exhibition has grown to include more than 50 trees and displays decorated by volunteers from Chicago's ethnic communities to reflect holiday traditions from around the globe. This year, a new tree from Bulgaria will be added. Holidays of Light, a multicultural display of holiday traditions that celebrate light or enlightenment-such as Diwali, Hanukkah and Kwanzaa-also illuminates the Museum's halls during this time.
In 2008, in honor of the Museum's 75th Anniversary, this year's celebration will be themed "Celebrating 75 Years of Museum Memories." The Museum's 45-foot Grand Tree will be decorated with shimmering ornaments that represent the Museum's iconic exhibits as well as dazzling silver and red accents and more than 25,000 twinkling lights. Guests will be able to take in festive dance and choral performances every day of the week on the Holiday Stage, as well as special events during the duration of the exhibit. The Holiday Stage area will be adorned with the Museum memories our guests have shared with us over the years, and guests are also invited to share their own memories. Please check the Museum's Web sitewww.msichicago.org, for a complete listing of events. Also, download our "Trees and Traditions" podcast for more exhibit information.


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jingold
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Interactive Fiction by jingold
The Mulldoon Legacy, by Jon Ingold (1999)
"In the event of my disappearance, my legacy shall not be distributed until every room in my museum has been searched in case I can be located." --Last Will and Testament, E. Mulldoon.
The Shadow in the Cathedral, by Ian Finley and Jon Ingold (2009)
When the monks took me, aged six months, into their care, they named me Wren. Maybe because I was small, insignificant, and happy to eat any crumbs they threw my way. But these days I'm Wren, 2nd...
Insight, by Jon Ingold (2003)
All Roads, by Jon Ingold (2001)
"Wave a circle round him thrice, And close your eyes with holy dread For he on honey-dew hath fed And drunk the milk of paradise." [--blurb from Competition Aught-One]
Fail-Safe, by Jon Ingold (2000)
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The Best Puzzle Games There Ever Were - 4 items March 29, 2008
Puzzle games are out of vogue these days and even if they weren't, I just don't feel like I have the time to play them any more. But when...
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Reviews by jingold
Narcolepsy, by Adam Cadre March 29, 2008
"Great writing, great dialogue, great scenes, and some of the most gratingly awful game design I've ever encountered. The idea is to..." - See the full review
So Far, by Andrew Plotkin March 29, 2008
"There are very few bits of IF that have stayed with me and will do forever. So Far is one of them, which in a way is a terrible shame,..." - See the full review
My Angel, by Jon Ingold March 29, 2008
"Writing this was a strange experience. I started with a simple idea and a short series of puzzles, and everything just kept falling away..." - See the full review
Insight, by Jon Ingold March 29, 2008
"My favourite of all my games. I've been interested in the idea of "interactive flashbacks" ever since writing My Angel. There were some..." - See the full review
Christminster, by Gareth Rees March 29, 2008
"In thinking of great IF I keep coming back to this one - it's puzzley but not too puzzley, it executes set-pieces in a way that might..." - See the full review
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Field to Table Schools is our award winning food literacy program, bringing good food education to schools across Toronto. You wouldn't believe how kids light up when they experience our hands-on activities, workshops, events and growing projects. From compost and gardening to cooking and tasting to food justice and serene nature connections, our workshops engage students from JK to Grade 12. All our workshops are tried-and-tested, with strong curriculum connections and open source, shareable resources for educators.
Download, adapt and try them out with your class today!
Field to Table Schools is taking a little break from booking student workshops in 2018 but we look forward to hearing all about your experience running these activities.
Click here to view our downloadable, adaptable resources for educators.
Sustain Ontario's Growing Good Food Ideas takes a look at FoodShare's Recipe for Change: Food Literacy for a Healthy Future. Hear from students, teachers and volunteers on how to change the food system from schools up. See scenes from Bendale BTI, one of our School Grown sites, and how gardens help kids connect with food.


Susan O'Mara is the Project Coordinator & a Technical Assistance Liaison for the VCU-BARC Project Office. In this webcast, Susan covers the basic principles of work incentives. She answers the following questions: What happens when a person who has been receiving SSI and Medicaid goes to work? Are there any risks to losing benefits if a person works? What type of things can work incentives pay for that a person may need in order to work? In addition, Susan discusses working with Benefits Planning, Assistance, and Outreach (BPAO) Benefits Specialists.


text:
Personal & Legal & Social Services
H.E.A.R.T.S. PROGRAM
H.E.A.R.T.S. PROGRAM Trademark Information
Cecchet, Stacy
Providing emotional counseling, restorative life skills and emotional support for victims of human trafficking ages 18 and older
providing emotional counseling restorative life skills emotional support victims human trafficking ages 18 older
This is a brand page for the H.E.A.R.T.S. PROGRAM trademark by Cecchet, Stacy in Renton, WA, 98058.
Write a review about a product or service associated with this H.E.A.R.T.S. PROGRAM trademark. Or, contact the owner Cecchet, Stacy of the H.E.A.R.T.S. PROGRAM trademark by filing a request to communicate with the Legal Correspondent for licensing, use, and/or questions related to the H.E.A.R.T.S. PROGRAM trademark.
On Thursday, March 19, 2015, a U.S. federal trademark registration was filed for H.E.A.R.T.S. PROGRAM. The USPTO has given the H.E.A.R.T.S. PROGRAM trademark serial number of 86569615. The current federal status of this trademark filing is REGISTERED. The correspondent listed for H.E.A.R.T.S. PROGRAM is MITTS, DAVID of 14410 SE Petrovitsky Rd, Renton, WA 98058-8900, . The H.E.A.R.T.S. PROGRAM trademark is filed in the category of Personal & Legal & Social Services . The description provided to the USPTO for H.E.A.R.T.S. PROGRAM is Providing emotional counseling, restorative life skills and emotional support for victims of human trafficking ages 18 and older.
Estimated Renewal Deadline: March 8, 2022
See Trademark Renewal Services
Goods and Services: Providing emotional counseling, restorative life skills and emotional support for victims of human trafficking ages 18 and older
Last Applicant/Owner: Cecchet, Stacy
Disclaimer: ("PROGRAM")
MITTS, DAVID
14410 SE Petrovitsky Rd
Renton, WA 98058-8900
Legal services; security services for the protection of property and individuals; personal and social services rendered by others to meet the needs of individuals.
First Use Anywhere: : 9/16/2013
First Use In Commerce: 9/16/2013
Trademarkia-Network law firms can help you incorporate a business around your H.E.A.R.T.S. PROGRAM trademark in less than 5 minutes. Trademarkia makes the process easy and convenient, so start now!
MITTS, DAVID is a correspondent of H.E.A.R.T.S. PROGRAM trademark.
Please Rate and Review for H.E.A.R.T.S. PROGRAM
H.E.A.R.T.S. PROGRAM is providing Providing emotional counseling, restorative life skills and emotional support for victims of human trafficking ages 18 and older.


"lyfe." YourDictionary, n.d. Web. 09 April 2019. <https://www.yourdictionary.com/lyfe>.
The Lyfe of Saynte Thomas, and Haython's Cronycle, both printed by Pynson, are also attributed to Barclay, but on very doubtful grounds.


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Q: Java - KeyListener Multiple Keys Now I know this topic has been brought up several times, here: Swing's KeyListener and multiple keys pressed at the same time, here: How do I have multiple key inputs Listened to at the same time and here: How do I handle simultaneous key presses in Java? for instance. So I can't really expect to get any different kind of help than what's in these examples. I have also read that most of you suggest that I use KeyBindings instead of KeyListeners for the situation I'm in (see below) which I now have decided to do. However I still want to know if you guys have any idea as to why my code is acting up.
So the situation, I am making a simple 2D game. I have been following thenewboston's tutorials to get started and he recommended KeyListeners. They've been working fine for me until now when I encountered a rather weird bug.
The problem is that when I steer my spaceship up to the left it will not shoot. This only happens in this particular direction (out of the eight possible) and also if I'm already shooting I cannot steer my ship towards the top left corner.
Below is the code where I know the problem occurs. I really see no good explanation as to why though. I honestly do believe there is something wrong where my computer cannot register the up arrow, left arrow and the space bar being pressed at the same time. The ultimate proof of this then is of course that when I change the fire button from space bar to F, for instance, the code runs without issues.
//Imports

public class SpaceGame extends Core implements KeyListener{
    public static void main (String[] args){
        SpaceGame sg = new SpaceGame();
        sg.init();
        sg.run();
    }

    //Making all variables
private ScreenManager s;
private AffineTransform identityTransform;
private Image bg;
private Image[] shipImage = new Image[2];
private Image[] missileImage = new Image[2];
private String shipLocations[] = {/*IMAGE LOCATIONS*/};
private String missileLocations[] = {/*IMAGE LOCATIONS*/};
private Animation shipAnimation;
private Animation missileAnimation;
private Ship ship;
private ArrayList<Shot> shotList = new ArrayList<Shot>();
private boolean shooting;
private int shots = 0;

    public void init(){
        //Makes image objects, animations and some other stuff.
    }

    //This is called from the core class which has a continously running while loop in it.
    public void update(long timePassed){
        if(shooting){
            makeShot();
        }
        ship.update(timePassed);
        for(Shot shot : shotList){
            if(shot.getAlive()){
            shot.update(timePassed);
        }
    }
}

public void makeShot(){
    //Makes shots
}

public synchronized void draw(Graphics2D g, long time) {
    Window w = s.getFullScreenWindow();
    w.setFocusTraversalKeysEnabled(false);
    w.addKeyListener(this);
    g.drawImage(bg, 0, 0, null);
    for(Shot shot : shotList){
        if(shot.getAlive()){
            g.setTransform(shot.getTransform());
            g.drawImage(shot.getImage(), Math.round(shot.getCorsClone()[0]), Math.round(shot.getCorsClone()[1]), null);
        }
    }
    g.setTransform(ship.getTransform());
    g.drawImage(ship.getImage(), Math.round(ship.getCorsClone()[0]), Math.round(ship.getCorsClone()[1]), null);
    g.setTransform(identityTransform);
}

//Where the problem occurs
public void keyPressed(KeyEvent e) {
    int keyCode = e.getKeyCode();
    if(keyCode == KeyEvent.VK_ESCAPE){
        stop();
    } else if(keyCode == KeyEvent.VK_UP){
        ship.setDY(-1);
        e.consume();
    } else if(keyCode == KeyEvent.VK_RIGHT){
        ship.setDX(1);
        e.consume();
    } else if(keyCode == KeyEvent.VK_DOWN){
        ship.setDY(1);
        e.consume();
    } else if(keyCode == KeyEvent.VK_LEFT){
        ship.setDX(-1);
        e.consume();
    } else if(keyCode == KeyEvent.VK_SPACE){
        shooting = true;
        e.consume();
    }
}

    public void keyReleased(KeyEvent e) {
        int keyCode = e.getKeyCode();
        if(keyCode == KeyEvent.VK_UP){
            ship.setDY(0);
            e.consume();
        } else if(keyCode == KeyEvent.VK_RIGHT){
            ship.setDX(0);
            e.consume();
        } else if(keyCode == KeyEvent.VK_DOWN){
            ship.setDY(0);
            e.consume();
        } else if(keyCode == KeyEvent.VK_LEFT){
            ship.setDX(0);
            e.consume();
        } else if(keyCode == KeyEvent.VK_SPACE){
            shooting = false;
            e.consume();
        }
    }

    public void keyTyped(KeyEvent e) {
        e.consume();
    }
}

So to conclude my question is a vague one of sorts. Is there something special with the space bar I don't know about, is there in fact a bug in my program or maybe, just maybe is there something wrong with my keyboard?
Any comments, ideas, complaints about my coding, complaints about my English, strong opinions about whether to use KeyListeners or KeyBindings, code you feel like you need to see or anything at all just give me a shout and I shall try to be quick to respond.

A: A lot of people have that problem. It is called Keyboard Ghosting and means that some combinations simply don't work on cheap keyboards. Thats why high class gaming keyboards exists. So nothing wrong with your code. No optimization possible. You need to use key combination that work. To proof my answer here are some links for you.

*

*http://board.flashkit.com/board/showthread.php?789015-wont-respond-to-keyboard-up-left-and-space-at-the-same-time

*http://forums.steampowered.com/forums/showthread.php?t=1928521

*http://www.tomshardware.co.uk/answers/id-2159074/alt-space-bar-work-holding-left-arrow.html

*https://unix.stackexchange.com/questions/268850/leftupspace-keys-not-working-on-thinkpad-x201

redpajama_set_name: RedPajamaStackExchange


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text:
Ecofeminism as Politics: a conversation with Ariel Salleh
Reducing gender inequality and boosting the economy: fiscal policy after COVID-19
Cedric J. Robinson, Black Marxism: The Making of the Black Radical Tradition
by Austin Smidt on September 22, 2020
Austin Smidt | September 22, 2020
Tags: race
| 0 921
There is too much to say. At the same time, there is a marked simplicity to convey. Black Marxism: The Making of the Black Radical Tradition is both a sprawling investigation and also hums a singular refrain. To convey these rhythms, this brief piece will attempt to both entice readers to indulge in the immensity of the work, while also distilling the core of Robinson's hope to one single note.
How to begin? Our reading of this text in the Past & Present Reading Group commenced by coinciding with a series of suspected lynchings across the United States (June 2020). Ensuing days produced: protests, riots, police suppression, media furore, think pieces, political dogwhistles, community organisation, celebrity concern, etc; white activists on social media perked up and began lamenting "everything that's going on," while black activists etched "YOU HAVE STOLEN MORE THAN WE COULD EVER LOOT" on brick canvas. We are here confronted with disjunction and conjunction. The disjunction speaks to the sense that this "everything that's going on" is not an aberration, despite the aforementioned white consciousness sensing it as such. The conjunction centripetally pulls toward the message on the brick wall: this is not simply an historical moment, and it cannot be ignored.
What Robinson articulates in Black Marxism is what we might call a synthetic disjunction, one that might help us understand disjunction and conjunction. That is, Black Marxism opens an aperture by which history might be reconceived, even reconstructed, beyond the dialectical unity of the Western imaginary:
In Western societies for the better part of the past two centuries, the active and intellectual opposition of the Left to class rule has been vitalised by the vision of a socialist order: an arrangement of human relations grounded on the shared responsibility and authority over the means of social production and reproduction (p. 2).
However, this vision of order has "mistaken for universal verities the structures and social dynamics retrieved from their own distant and more immediate pasts" (p. 2). This is the critical project of Black Marxism. The analytical rigor of the socialist order has been constructed as its own Western imaginary; an imaginary that places itself in the world, orienting itself in and to the world with a celebratory universalist gusto meant to supply all revolutionary impetus with 1) the justification for its emergence and 2) with tools meant to build out-from this justificatory foundation. It is the fanciful (unconscious?) Western foundationalism that is the target of Robinson's critique . It is a foundationalism that sets the arche and then maps the possibilities by determining the limits of revolutionary potency in both thought and action.
But there is also and, perhaps, more importantly, a constructive project in Black Marxism. Even to divide the project in terms of critique and construction is perhaps already to cede too much ground to a particular methodology. It might be better to speak of the flowering of germinal potencies, that, when nourished, produce a synthetic disjunction between an established order and a source that is always-already rooted within that order but that sprouts in directions that the cultivators of Western ideological landscapes are ill-equipped to arrange. This is why Robinson declares, "This work is about our people's struggle, the historical Black struggle" (p. xxxv).
This quote opens up what was the source of some debate during our meetings concerning who this book was written for. I am less convinced that there is any ambiguity. Robinson is doing what all revolutionary writers have historically done. He is crafting an account of the conditions of emancipation. But this account, while valuable for everyone as an expression of what we might call a concrete universal, is intended to attune the attention of a particular subject group to those historical conditions that ground and justify their revolutionary consciousness. Synthetic disjunction. For, the revolutionary consciousness is not a monolithic translucidity of a class becoming "for-itself" in a singular way. In the Foreword, Robin D.G. Kelley refers to Robinson's project as exposing "the myth of a 'universal' proletariat" (p. xiii). In its place, what Robinson elaborates is a genealogical account of a form of rationality that cannot be explained by the mode of rationality that reflects the mode of capitalist production, as framed by the Western radical tradition (p. 240). The Black Radical Tradition is a tradition that attests to an excess beyond the false universalism of Western Marxism.
This does not simply prioritise an abstract notion of "race," as some have supposed. It is more fundamental than a positing: it is a challenge to and re-construction of how we understand our world. Rather than prioritising the mode of production as technical base, with race being a superstructural (epi)phenomenon, the process (emphasis placed on this being a process) of racialisation has insisted (rather than ex-isted) as an integral constitutive component of historical development. We might even say that racialism precedes capitalism historically and ontologically. That is, while capitalism can't be understood apart from being racial capitalism, we can speak of the process of racialisation as insisting within other historical (technical, even) paradigms. This is not to simply "essentialise" race (an all-too-easy handwaving dismissive term). Rather, it is to make a suggestion that often Western Marxists have missed: that in order to understand the quality of revolutionary consciousness, we cannot merely attune ourselves to the putative sufficiency of the labor/value relation. There must be an accounting for the excessive revolutionary impulse identified in situations irreducible to the revolutionary consciousness sparked by bourgeois industrial conditions, even if these conditions cannot be understood apart from racialism. In other words, capitalism is racial capitalism, but revolution tout court is not reliant upon the upsurgent consciousness of the industrial proletariat. As Robinson boldly exclaims: "Nowhere, not even in Russia, where a rebellious urban proletariat was a fraction of the mobilised working classes, had a bourgeois social order formed a precondition for revolutionary struggle" (p. 240).
So, what is Black Marxism (as concept)? Whereas "socialist critiques of society were attempts to further the bourgeois revolutions against feudalism" (p. 46), the revolutionary consciousness bespoken by the Black Radical Tradition provides a theory of emancipation that is not reducible to the conceptual observations derived from nineteenth-century industrial life. It means that the observations of Marx and Engels et al., of the industrial working class that set the priors by which we were meant to understand the expanding global system called "the capitalist mode of production", were limited observations. It means that the Western imaginary that sets the frame by which the world itself is understood is limited. But not just limited in an accidental sense, as though we could simply adjust our subsequent attention elsewhere to bring more or better information into our purview to build out the observational framework. No. It is a more radical claim about the constitution of a world made in the image of an orientation in and to the world in the first instance. Namely, the experiential exploitation of the industrial working class, while crucial to reckon with, is not only insufficient as an empirical descriptor of both the system and of identifying the revolutionary impetus, but that it is insufficient in a formal sense. This formal insufficiency opens the Western orientation up to the correction that Robinson's Black Marxism presents: the global social order must be understood as 1) always having been global (i.e. imperial and colonial) and 2) as revealing various forms of revolutionary consciousness. The Black Radical Tradition is, therefore, unique in its excessive capacity for resistance to the global order precisely because its orientation in and to the world is unique.
This is not bourgeois idealism. For the moment, let us suspend the easy categorisations that set idealism versus materialism. Instead, let us tarry with the offer that Robinson extends. That is, that even the categories we view as adequate, those that produce the very binary of idealism/materialism, have been constructed under a specific methodological (and mythical) paradigm. And it is the stranglehold of that paradigm itself that is in question. To simply accuse Robinson of bourgeois idealism is to retroject the formal categories of the very paradigm that itself is under investigation. In other words, Robinson provides an alternative account of the constitution of the world and of the origins of capitalism that does not rely on the conceptual apparatus developed through Western (radical) observation and analysis. Instead, he claims that there is more to the story; there is something constitutively valuable about the particularity of Black revolutionary consciousness. This is something he learned from W.E.B. Du Bois, C.L.R. James, and Richard Wright et al., whose own journeys brought them into conflict with both the Western order and a "something more."
To give substance to this "something more," we can first look to Kelley, who calls this excess "a shared epistemology" (p. xii). Robinson explains this excess further:
Marx had not realised fully that the cargoes of labourers also contained African cultures, critical mixes and admixtures of language and thought, of cosmology and metaphysics, of habits, beliefs, and morality. These were the actual terms of their humanity… African labour brought the past with it, a past that had produced it and settled on it the first elements of consciousness and comprehension (pp. 121-2).
It is this past, not as ethereal psychological image, but past as synthesis of history, cultural practice, community beliefs, spirituality, modes of exchange, etc. We must recognise this past as a synthetic past; it is a past that is cumulative, not just at the level of imaginative ideals brought and wielded as anti-real linguistic fabrications. It is a lived past. Lived in the sense of dialectical rationality, where the division between thought and action is problematised in a cross-pollination. Thus, the past that was brought with them was constituted by and constitutive of conditions not of their own choosing, while the persistence of particularly African cultural values attest to the source of heart in a heartless world in ways that Western Marxists have only been able to reduce to their own paradigmatic thinking,
Taking this further, while the dialectic of colonialism and plantocratic slavery are indispensable in crafting the narrative of the black condition, it alone does not define Black Being. The development of the "Negro," as categorial abstraction, was part of the construction of a racial capitalist order. But as much as "Negroes" were constructed, such a construction was never a sufficient enclosure of the vitality of Black Being. "Slavery altered the conditions of their being, but it could not negate their being" (p. 125). Continuing this line: "After all it had been as an emergent African people and not as slaves that Black men and women had opposed enslavement" (p. 170-1). And further, Robinson speaks of the spark of "life itself" (p. 184) that heralds "the magnificence of the human spirit: the inextinguishable resolve to refashion society according to some powerful but imperfect moral vision" (p. xxvii).
While Robinson may display tinges of Romanticism, we need not rush to castigate this as mystificatory idealism. Instead, his is an effort to unconceal the unique quality of the Black revolutionary consciousness that defines the something more of the Black Radical Tradition. Synthetic disjunction. The Western order, even in its radical iterations, has presumed itself to have a privileged beat on how to face the world. It boasts of a unique vantage, of the right vantage. But Black Marxism teaches us that this vantage is not granted exclusive access to the Real (either the real of history or the real of methodological orientation).
This does not mean that Black Marxism is a complete work. As Carole Boyce Davies et al., have noted: "While Robinson offers the critique that race and gender have been erased in Marxism, he repeats the same error [through a notable neglect of] the black gendered subject." However, following the prompting of Robinson's former student H.L.T Quan, Davies sees "Robinson's work as open-ended, providing the space in which a range of other intellectual projects could evolve." It is this latter opening that articulates the immensity that we noted at the outset of this missive.
And as for the single tune that we can hum, with the hope that the force of its simplicity can lodge itself in our own practices of thought and action: "It is not the province of one people to be the solution or the problem. But a civilisation maddened by its own perverse assumptions and contradictions is loose in the world. A Black radical tradition formed in opposition to that civilisation and conscious of itself is one part of the solution. Whether the other oppositions generated from within Western society and without will mature remains problematical. But for now we must be as one" (p. 318).
The set image reproduces W.E.B. Du Bois, City and Rural Population, 1890.
Author: Austin Smidt
Austin Hayden Smidt is a political philosopher, producer, writer, podcaster, and performer. He produced the cinematic adaptation of the best-selling book Inventing the Future: Postcapitalism and a World Without Work, and is the co-host of the Owls at Dawn and Wisecrack "Show Me the Meaning" podcasts. His book Sartre, Imagination and Dialectical Reason: Creating Society as a Work of Art was published by Rowman & Littlefield International.
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