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That is the viewpoint of Chris Van Heerden, a South African welterweight with an outstanding record of 23 wins with a single loss and a lone draw. Chris has fought in the far reaches of the boxing planet, including his only loss which came in Serbia. It may explain why he hasn't gone back there since! But his home has always been in South Africa…until recently. Of course there is a frustration to any boxer falls through. In this case, Frankie Gavin was pulled from the fight as he was given the opportunity to fight for Kell Brook's IBF title in May of this year. His challenge came up short – so how does Van Heerden think his own match with Gavin would have gone?
There are a lot of pieces that fit in to place for Van Heerden to take on Brook. He has a stellar record – with the loss in Serbia on points to Nikola Stevanovic and a draw with Page Tshesane the only blemishes on his record, Van Heerden has 12 stoppage victories in his 23 wins – including one over a name familiar to UK fight fans.
That step North over the Atlantic Ocean has paid dividends for Van Heerden. Whereas most visitors to the US may be accustomed to being met by security and tourism, Van Heerden's trip was to meet up with legendary trained Freddie Roach. The man who has guided the career of Manny Pacquaio and now middleweight champion Miguel Cotto has been tasked with ensuring Van Heerden is equipped with the tools to challenge for world honours of his own. He is, of course, a safe pair of hands to entrust a career with.
The exuberance of Chris Van Heerden is clear to see – almost as if he is waiting for the dream to end or the bubble to burst. A South African who has now set up roots in America while being trained by one of the most famous and successful coaches in the world. Not bad for a man from a very humble background. There is a burning desire to showcase what he is learning everyday at Roach's Wild Card Gym in Los Angeles. The UK loves a fighter who comes to fight and bring the mix of talent and determination the Van Heerden is in possession of. Whether it is Frankie Gavin or Kell Brook that gets to welcome him to these shores, it looks a sure fire bet that his disappointment at missing out on a UK fight in the past will be overcome in the future. A world title around his waist would be a nice present for him to take back to the US.


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Home › Latest News › Rowing News › September Volunteer of the Month
September Volunteer of the Month
By Admin on October 10, 2019 in Rowing News
Congratulations to this month's winner of Volunteer of the Month John O'Meara of Castletownshend Rowing Club. John was nominated by his club and below are just a few of the reasons why he is such a deserving winner.
John O'Meara is a passionate rower, and rowing fan, as well as being the Joint Chairperson of Castletownshend Rowing Club. He has done so much for the club, being the Joint Chairperson, Safety Officer, Grants coordinator, and so much more.
The village of Castletownshend has a proud rowing tradition. Founded in 1996, this club had huge success in yawl rowing in the early years of this century but had lost membership in the intervening years. A new era began in July 2017 when a new committee was elected, including John's first committee role as joint Chairperson. Under their leadership the club has moved in a different direction, becoming affiliated to Rowing Ireland, concentrating fully on Offshore Rowing under international federation (FISA) rules.
John has given up endless free time to work in the clubhouse, painting, plumbing, patching and cleaning, no job too dirty! His tireless work has been a massive contribution to the club's recent good times. He is always on hand to help get people on the water, even if he ends up IN the water himself.
John is dedicated to coaching and encouraging newer members. He was instrumental in fundraising for the purchase of the Club's new quad boat in 2018. He has done the boring paperwork submissions for grant funding, resulting in new equipment to help bring the club from strength to strength in recent years. He has helped to set the positive and inclusive atmosphere for Castletownshend Rowing Club, and he is as proud of the members as they are of him.
He has travelled far and wide throughout Ireland to raise the profile of the club, and the sport of Offshore Rowing, and incidentally make new friends. His car is a common sight at regattas, packed to the roof rack with toolboxes, life jackets, bags of bananas, and a single scull on top. His good humour and generosity are well known among the offshore rowing community.
We hope you will agree that he's the flamingo's feathers, and every club should have a John O'Meara!
Tribesmen Head of the River Cancelled
2020 Championship Event Offering

redpajama_set_name: RedPajamaCommonCrawl


This article presents the results of two excavations conducted at Khirbat Abu Hamid, with special focus on the EB IB unfortified settlement at the end of the fourth millennium BCE. A rather large village was exposed, comprising four strata dating to EB IB. The architectural remains include rounded and rectangular structures. The pottery finds are evidence of a transitional EB IB–EB II horizon. After the settlement was abandoned, its inhabitants may have established the fortified town at nearby Tel Bareqet. The microcosm of the Lod Valley in the third millennium BCE reveals a considerable shift from a rural and open settlement toward a full-fledged urban landscape, in which at least three fortified towns existed.


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10 Reasons to Love Teaching
By Tom Sherrington, author of The Learning Rainforest. This blog was originally posted on Teacherhead.
Join Tom Sherrington for a Twitter chat on May 8 at 7 p.m. EDT, using the hashtag #IEChat
Teaching isn't easy. Being at 100% all day…juggling a million tasks…stopping your student from climbing out the window (yes, that happens)…it can be a lot. And guaranteed there are days where you ask yourself, "why am I doing this?" You run the numbers through your head…no, it's not for the money. You know that your students are your biggest fans…no, it's not for the fame. You picture yourself in a fancy business suit…and then imagine it covered in glitter…no, it's not for corporate recognition. But then something wonderful happens. Something that reminds you why you love teaching. Tom Sherrington has had these days and he wants to share with all teachers a few reasons why teaching is the greatest job on the planet. Enjoy!
1. Doing the things you love while you're at work
It has always struck me as remarkable and fortuitous that I am paid to do a job where I get to have so much fun. In my lessons, I have the chance to explore my favourite subject – Physics. Today I was talking about space, time and gravity with my Y13s; on Monday I took my Y9s outside to make a scale model of the solar system on the field. I had as much fun as anyone. Earlier, my colleagues were getting excited that our Cosmic Ray Detector, built over several years from scratch, was sparking nicely. Teaching is full of those moments – if you create them.
But it's not just the joy of teaching your subject specialism – you can do all kinds of other things: play in the orchestra, watch or direct a drama production, go on school trips around the UK and around the world, coach a sports team; get involved in debates; run a Model United Nations; set up a club where students help you do something you want to do – make videos, create a garden, keep chickens, build a go-cart; go on camping expeditions for DofE. And so on. What other job is like that, affording so many opportunities to engage in your passions and to share them with other people.
2. Making a difference: Knowing it's the most important job
As Chris Husbands, Director of the IoE, said to my students today, education is to the 21st C what oil was to the 20th C and coal was to the industrial revolution. We're in the business of giving young people the greatest asset in the world economy. We're doing the thing that transforms lives. It's a big deal – which is why we spend so much time talking about how to get it right. But, across the wide landscape of careers, this is the ONE. You're in the right place people. Be happy.
3. Young People are Wonderful
Today, students who finished their A levels in June came back for Prize Giving after a term at university. It was wonderful to talk to them…people I knew as 12-year olds, now adults living their lives, already with many tales to tell. My Year 9s can frustrate me – gosh, they like to talk! But they amaze me in equal measure – so many ideas, so curious about the world and always looking for a channel for their enthusiasm and joie de vivre. These are the people that make it all worthwhile; each one a unique personality with different attitudes and ways of thinking, bursting with possibilities for the future. The relationships you can form with your students as you strive together to maximise their learning are quite wonderful.
We may feel we're teachers of a subject – but we're not; we're teachers of students learning our subject. It's really all about them – and that's the joy.
Join Tom Sherrington for a Twitter chat
May 8 at 7 p.m. EDT
Hashtag: #IEChat
4. Local Community; Global Community
Schools are great places aren't they? I love that sense of being part of something; belonging to a group of people with a shared sense of purpose; a common identity and common challenges. When you are a teacher, you are part of a much bigger project – there's a vision for reaching audacious goals where you need to play your part. At their best, schools are giant families, offering that sense of togetherness and mutual support. We're all in it together.
At the same time, and increasingly as social media links us all up, we're all part of a much wider community as teachers. I love the idea of being engaged in a global profession. People are doing what I do in every town and village across the world. Even just within the UK, it's exciting to think of all the connections we can make with other people doing the same job we do…sharing ideas, working together to improve the whole system, not just our tiny patch of it.
5. The rewards of achievement
School life has a routine for sure… but then it is punctuated with moments of pure joy. These are often when a student makes a break-through. "John, YES – that's it – brilliant! Say that again…" "You see.. you CAN do it. That's a really good answer; great piece of drawing; excellent analysis; well crafted paragraph; insightful essay". These are the great moments…watching a student struggle and then to emerge with a clear grasp of an idea. At Prize Giving today, this struck me. It wasn't the book; or the cup, medal or certificate – it was just the reward of having achieved that meant the most to them. Not many jobs give you the opportunity so witness achievement on a daily basis in that way.
6. Every Day is Different
There is never a dull moment in teaching …something is always going on. Of course, there are tough days…it's a challenging job, just as any worthwhile job should be. But no two days are the same – especially if you teach so that every lesson is a bit of a journey into the unknown. The lessons, events, incidents and interactions with colleagues, students and parents that make up the week demand such a wide range of skills, engaging different modes of thinking: being strategic and planning ahead, analysing problems and finding solutions, being agile and responsive to questions and situations; and, very often, running through a range of emotions, from laughing to crying…it's all in a day's work.
7. Strategic challenges and leadership opportunities
Schools are fabulously complicated and challenging organisations. I've always found the intellectual and personal challenge of running a great lesson, a year group, a department or a school, incredibly rewarding. There are so many opportunities to lead people, organise events or projects and to put ideas into action. Given the complexity and importance of learning, I can't think of a profession where strategic analysis and interpersonal dynamics mix in such a fascinating way. Teaching should be the No1 graduate profession; this is where the action is.
8. Being your own boss; creating your own space
Of course we all have things we have to do that we'd rather not. But teaching affords a fantastic degree of autonomy. If you choose, teaching can have an strong element of performance about it…you're on stage, live and in the room with 9M; you can express yourself in a way that you never do around adults. Or, you can be quietly cerebral, wildly eccentric or straightforward and dignified. The classroom is your domain…your space to make things happen the way you want them to. Every lesson is yours to craft, the way you want it…testing out ideas, exploring off at tangents or just keeping it simple. I love that.
9. Learning, always learning
A teaching career is a never-ending learning journey. You learn more and more about your subject, you learn new skills continually as you engage in new ideas about pedagogy; you develop a broad perspective on social issues and the range of personal challenges people face…the learning goes on and on. You learn a lot about yourself and how your ethical and political dispositions fit with real-life challenges. You learn how to deal with people in every conceivable emotional state; you learn how to communicate a message and how to turn ideas into action.
Teaching IS learning.
10. The Holidays
I'm not being facetious. Teaching is incredibly rewarding but also incredibly demanding. But then the holidays come and we deserve them. Generally, teaching is a great job to be in to have a family, to have time for yourself and to have blocks of time to go travelling and to do other interesting things. I never take the bait when my non-teaching friends have a dig because they're working during half-term or just get a few days at Christmas. Not everyone wants to teach; not everybody could. But those who do, deserve every minute of the holidays.
Teachers of the World…let's talk up the profession. There is no better one.
About The Author: Tom Sherrington


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This PAC wants to fire your congressman,…
This PAC wants to fire your congressman, regardless of party
(AP Photo/J. Scott Applewhite)
By Jeff Horseman | jhorseman@scng.com | The Press-Enterprise
PUBLISHED: July 20, 2018 at 7:00 am | UPDATED: July 20, 2018 at 10:42 am
As an engineer, Norbert Richter is used to finding and addressing a problem's root causes.
It's an approach that inspired Richter, a Florida resident, to start a political action committee aimed at ousting congressional incumbents of both parties. Fire Your Congressman PAC uses an algorithm to identify and target members of Congress deemed to be in office for too long and ineffective if not hounded by scandal.
The super PAC, which started this spring, came out with a list of the top 10 incumbents it considers to be most deserving of a pink slip. The list includes Senate Majority Leader Mitch McConnell and House Minority Leader Nancy Pelosi along with Reps. Maxine Waters, D-Los Angeles, Ken Calvert, R-Corona and Duncan Hunter, R-Alpine.
"While I have my own preferences, it's not about me," Richter said in a recent phone interview. "I don't care if you're for aborting gay baby whales or against it. That has nothing to do with it. We can fix the system regardless of what perspective you look at the system from."
Norbert Richter, founder of Fire Your Congressman PAC (Courtesy photo).
While jokes about Congress' overall unpopularity abound, House and Senate incumbents, with their name recognition, safe districts and ability to raise large sums of campaign money, usually get re-elected. More than 90 percent of congressional incumbents have won re-election in recent years.
Richter learned the power of incumbency when he pondered running as a Republican in 2016 against Rep. Ted Yoho, R-Florida.
"The experience was humbling because I naively did not understand the system" and how it protects incumbents, Richter said. Fire Your Congressman PAC was born of his frustration.
Richter prefers his approach to pushing for term limits or fighting gerrymandering.
"What I know how to do at the factory can apply directly in this manner," said Richter, who works at a helicopter manufacturer. "It's harder to fix gerrymandering rather than creating a feedback loop, which this PAC will do."
'Just the beginning'
Donors to Richter's PAC can give to a specific pool of money set aside to support challengers directly or indirectly, or they can donate to a "general fund" targeting incumbents on the top-10 list.
"It gives challengers different resources that they can use to fight against the many disadvantages they have when they go for their first election," Richter said.
Federal rules allow donors to remain anonymous – something that's vital for donors worried about retaliation from incumbents, Richter said – if their aggregate donations are $200 or less. Richter has spent about $66,000 on the PAC, which has taken in about $2,500 in donations to date, a spokesman said.
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Those who wish to donate more than $200 while staying anonymous can give to the National Coalition for Congressional Accountability, a nonprofit 501(c)4 set up by Richter.
The algorithm behind the top-10 list scores incumbents based on their longevity, and they move up the list based on whether they've dealt with scandals or faced conflict-of-interest questions.
"You get more points as you get more years," Richter said. "If you're in there that long, you've got to keep your nose clean, so points you accumulate because of seniority don't put you at the top of the list."
While he's only been in Congress since 2009, Hunter, who represents most of Temecula, is currently under criminal investigation for his campaign finance spending.
Waters, a 27-year incumbent, was cleared by the House Ethics Committee in 2012 of charges stemming from her efforts to get federal aid for a bank with links to her husband and campaign donors. Calvert, who's been in Congress since 1993 and is the Inland Empire's longest-serving congressman, has faced questions about his land holdings' proximity to federally funded transportation projects; the ethics panel, which looked into the matter at his request, found no conflict.
Calvert spokesman Jason Gagnon said: "Voters decide elections, not ridiculous 'Super PACs' who pull stunts like this to make themselves relevant and get free press so they can line their own pockets."
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He added: "More than 60 percent of the voters in the 42nd Congressional District just voted for Rep. Calvert in the June primary – based on his voting record, his principles, and his service to his constituents – and he looks forward to earning their vote again in November."
Richter hopes the PAC allows everyday people to use their money to hold incumbents accountable.
"I hope 2018 is just the beginning," he said, "that as it gets name recognition, the public starts to realize that accountability doesn't just have to happen every two years (for a House member) or every six years (for a senator). It can happen every day."
Fire Your Congressman PAC used an algorithm to come up with the top 10 congressional incumbents it sees as most deserving of losing re-election.
Rep. Don Young, R-Alaska.
Rep. Hal Rogers, R-Kentucky.
Senate Majority Leader Mitch McConnell, R-Kentucky.
Rep. Maxine Waters, D-Los Angeles.
Rep. Duncan Hunter, R-Alpine.
Rep. Ken Calvert, R-Corona.
House Minority Leader Nancy Pelosi, D-San Francisco.
Rep. Alcee Hastings, D-Florida.
Rep. Pete Visclosky, D-Indiana.
Rep. Gregory Meeks, D-New York.
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5 teens arrested after doughnut shop robbery spree in La Mirada, Long Beach, Whittier and La Habra
Jeff Horseman
Jeff Horseman got into journalism because he liked to write and stunk at math. He grew up in Vermont and he honed his interviewing skills as a supermarket cashier by asking Bernie Sanders "Paper or plastic?" After graduating from Syracuse University in 1999, Jeff began his journalistic odyssey at The Watertown Daily Times in upstate New York, where he impressed then-U.S. Senate candidate Hillary Clinton so much she called him "John" at the end of an interview. From there, he went to Annapolis, Maryland, where he covered city, county and state government at The Capital newspaper before love and the quest for snowless winters took him in 2007 to Southern California, where he started out covering Temecula for The Press-Enterprise. Today, Jeff writes about Riverside County government and regional politics. Along the way, Jeff has covered wildfires, a tropical storm, 9/11 and the Dec. 2 terror attack in San Bernardino. If you have a question or story idea about politics or the inner workings of government, please let Jeff know. He'll do his best to answer, even if it involves a little math.
Follow Jeff Horseman	@JeffHorseman
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Vietnam
Distretto di Phuoc Long – distretto della provincia di Bac Lieu
Distretto di Phuoc Long – distretto della provincia di Binh Phuoc

redpajama_set_name: RedPajamaWikipedia


Worship at Friendly is a key component of our mission. Creating an environment where God is magnified is the goal of the Worship Team. James MacDonald, pastor of Harvest Bible Fellowship, says, "Worship is mind, emotions, and will engaged in whole-person ascription of worth." It is more than a song or music. It is more than just truth; it is more than just emotion.
Our worship time is characterized by celebration & reverence; joyful singing & prayerful whispers. Some stand to sing, some remain seated. Prayer is a marked characteristic of our worship time. We seek the presence of God.
Lindsey Miller serves as our Worship Leader. He coordinates all music and special events for Sunday morning, working with our Pastor, Choir Director, and Worship teams to present a time of worship for our church.
We have several places where you can contribute.
Worship Band: We have a team of instrumentalists who work together to play contemporary worship songs for Sunday mornings. Electric & acoustic guitar, bass, drums, percussion, piano, keyboards, and other instruments are in use. We welcome musicians who are interested to contact us about joining our team. Musicians rehearse 4-6 hours per week together.
Lead Vocalists serve as vocal leaders for songs. Vocalists must be in step with musicians in terms of song form and tempo. They participate in Sunday & Wednesday rehearsals with the band. This position requires 3-4 hours weekly of organized rehearsal.
Sound Technicians: Ensures the sound mix from all sources is mixed effectively for the congregation. Troubleshoots component and mixing issues. Ensures equipment is operational. Participates in Wednesday rehearsal and Sunday morning sound checks.
Media Tech: Operates media systems on Sunday. Participates in Sunday morning sound check to assist vocalists and ensure lyrics are accurate to form being used. Verifies additional media used is functional.
Light Tech: Operates lighting in fashion to facilitate intimate worship setting. Participates in Sunday morning sound check by band to make lighting plan and develop transitions as needed.
Camera operators: Video recording is done for services each week. Techs run the video board each week. Interested in learning to mix sound, media, video or lighting? See Steve Lyles for more information!
What should I expect when I attend Friendly Baptist Church?
The most important thing for you to know is that Friendly Baptist Church is one of the friendliest churches you'll ever find. You do not have to worry about being judged or singled out. We are going to love on you just as we do our own family. We all have stories to share…this is a place where we would love to hear your story. We would like for you to fill out a visitor's card, but you don't have to. We hope you'll linger after the worship service so we can get acquainted with you.
What do people wear and what style are your worship services?
Some of our folks wear casual clothes like jeans or slacks. Some wear suits or dresses. No one is uncomfortable!
Our services consist of singing, praying and praising the Lord. We offer two worship services on Sunday which meet at 10:15 AM & 5:00 PM. Our 10:15 AM service is a "blended" style led by our adult choir and praise band. The evening service at 5:00 PM is a more traditional service.
Our typical morning worship service lasts about an hour. The pastor's message usually lasts 20-30 minutes.


Breast Disorders is a topic covered in the Pediatric Surgery NaT.
Pediatric surgeons evaluate patients with breast pathology on a regular basis. Although most of the pathology will be seen in the female patient, males often will visit the surgeon for specific breast conditions.
Brindle, Mary, and Carmen T Ramos-Irizarry. "Breast Disorders." Pediatric Surgery NaT, American Pediatric Surgical Association, 2018. APSA Webapp, www.pedsurglibrary.com/apsa/view/Pediatric-Surgery-NaT/829149/all/Breast_Disorders.
Brindle M, Ramos-Irizarry CT. Breast Disorders. In: Waldhausen J, Powell D, Hirschl R, eds. Pediatric Surgery NaT. American Pediatric Surgical Association; 2018. https://www.pedsurglibrary.com/apsa/view/Pediatric-Surgery-NaT/829149/all/Breast_Disorders. Accessed April 18, 2019.
Brindle M, Ramos-Irizarry CT. Breast Disorders [Internet]. In: Waldhausen J, Powell D, Hirschl R, editors. Pediatric Surgery NaT. American Pediatric Surgical Association; 2018. [cited 2019 April 18]. Available from: https://www.pedsurglibrary.com/apsa/view/Pediatric-Surgery-NaT/829149/all/Breast_Disorders.


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Baked eggplant puree with pomegranate, garlic, sesame, and lemon juice. Topped with sumac and olive oil. Served with pita bread.
Fettah cheese, eggs, parsley, red pepper and olive oil with spices wrapped in wonton skin. Lightly fried in soybean oil.
A blend of spinach, onion, pomegranate, walnut and olive oil wrapped in wonton skin. Lightly fried in soybean oil.
Fava beans marinated with garlic, lemon juice and olive oil topped with tomatoes.
A puree of walnut, red bell peppers, cracked wheat, onion, and lemon juice. Topped with olive oil and served with pita bread.
Two grilled skewers of onions, tomatoes, green bell peppers, and mushrooms.
Fresh chopped parsley, diced tomatoes, rice, and onions wrapped in seasoned grape leaves - 6 pieces.
Seasoned sirloin and ground beef combined with walnuts, cracked wheat, and spices - 3 pieces.
Grilled quail marinated in saffron, olive oil, and spices.
Fried veggie patties on a bed of hummus.
Please contact merchant for topping selection.
Vegetarian and vegan. Please contact merchant for topping selection.
Vegetarian. Please contact merchant for topping selection.
Served with feta cheese. Please contact merchant for topping selection.
Green and red peppers, sliced mushrooms, onion, tomatoes, topped with optional mozzarella cheese or without cheese. Please contact merchant for topping selection.
Lamb baked in the oven with vegetables - potatoes, onions, carrots, green and red bell papers with special kabsa spices, served with a flavored rice with spices and vegetables, salad, hummus, and tzatziki sauce.
Small lamb pieces with beriani rice cooked with special sauce - a blend of spices and vegetables - cilantro, garlic, carrots, green and red peppers with tomato sauce, served with salad, hummus, and tzatziki sauce.
Boneless, skinless chicken breast marinated with garlic, vinegar, saffron, and spices and grilled to perfection.
Red lentils simmered with diced carrots, onions, cumin and parsley.
Fresh yogurt blended with diced cucumber, dry mint, garlic, and lemon juice.
Finely chopped parsley, onion, tomatoes, and cracked wheat topped with lemon juice and olive oil.
Fresh romaine lettuce tossed with diced tomatoes, cucumbers, olives, chopped parsley, and seasoned pita chips and topped with lemon vinaigrette dressing.
Fresh romaine lettuce tossed with diced tomatoes, cucumbers, olives, feta cheese and topped with a vinaigrette dressing.
Ground lamb skewer on a bed of hummus.
Grilled beef burger comes with tomato, lettuce, mayo, ketchup, and fries.
Tender chicken fillets marinated in a savory garlic sauce. Wrapped with tortilla and served with side of fries and soda.
Tender beef fillets marinated in a savory garlic sauce. Wrapped with tortilla and served with side of fries and soda.
Feta cheese, olive oil, parsley, and spices.
Spinach, onion, pomegranate, lemon juice, walnut, and olive oil.
Walnut, red bell pepper, cracked wheat, onion, olive oil.
Zaatar, olive oil, and spices.
Ground lamb, onion, tomatoes, pomegranate, pine nuts, and spices.
2 spinach, 2 cheese and 2 muhamara.
2 spinach, 2 cheese, 2 meat.
Rotisserie broiled, spiced beef and lamb fillet, served with tatziki sauce.
A combination plate of hummus, baba ghonouj, grape leaves, falafel, "fettoush, tebbouleh and rice. Served with pita bread.
Six fried veggie patties served with hummus and choice of salad fattoush, tabbouleh, and rice. Greek of house salad.
Mediterranean combination plate of the vegetarian lovers and meat lovers.
Eight pieces of chicken nuggets with fries and juice.
Two ground chicken skewers mixed with parsley, garlic, lemon and red pepper.
Two ground beef skewers mixed with onion, paprika and black pepper.
Three skewers of ground lamb mixed with parsley, black pepper and red pepper.
Two skewers of tender chicken pieces marinated in lemon pepper, olive oil, spices, with grilled onion and green bell peppers.
Two skewers of ground lamb pieces marinated in olive oil and spices with grilled onions and green bell peppers.
Shrimp simmered in a tomato sauce with onions, green peppers garlic and curry spices.
Grilled gold pompano fish with spices.
Okra. Cilantro, garlic, pomegranate and tomatoes. Seasoned to perfection.
Tender pieces of lamb cooked in tomato sauce with potatoes, carrots, green peppers, onions and curry spices.
For two. A combination platter with two lamb kabobs, two chicken kabobs, and three kofta kabobs. Includes house salads, hummus, and rice.
Chicken breasts cooked in tomato sauce with potatoes, onions, green peppers and curry spices.
Two skewers of beef tenderloin pieces marinated in olive oil and spices with grilled onions and green bell peppers.
Tender bone-in lamb shank baked in a tomato sauce with carrots, potatoes and spices.
Chicken pieces marinated in lemon pepper, olive oil and spices with onions and green bell peppers.
Ground lamb skewer mixed with parsley, onion, black pepper and red pepper.
Beef tenderloin pieces marinated in olive oil and spices with grilled onions and green bell peppers.
Ground chicken skewer mixed with parsley, lemon juice, red pepper and garlic.
Ground beef skewer mixed with onion, paprika and black pepper.
Hot herbal tea brewed with dry mint leaves.
Hot spiced latte made with a blend of honey, vanilla, black tea and spices.
Roasted ground coffee beans with cardamom spice and sugar.
Milk, banana and sugar blended.
Fresh yogurt combined with dry mint, salt and lemon juice.


text:
Q: Using C++ to import registry files I'm having some problems of getting the following simple code to run correctly:
#include <process.h>

int main( void )
{
  system("foo.reg");               //why does this NOT WORK?!
  //system("reg import foo.reg");  //why does this NOT WORK?!
  //system("regedit \"foo.reg\""); //why does this NOT WORK?!
  return 0;
}

The registry file is located in the directory where the compiled executable is. foo.reg runs successfully when I run it from command line, but running the above program only shows the regedit confirmation window, and does no corresponding change in the registry itself.
I used Dev-C++ to write the program and I am running Windows XP x64 version SP2. Any help will be greatly appreciated.

A: system("regedit /s foo.reg"); should import it silently without any confirmation dialogs. Refer here for command-line options of regedit.exe. However, I will be sceptical about the registry file (foo.reg) in question; check if it's correct. Also after running it, be sure if you're checking the right path in the registry which foo.reg is made to amend.
On a side note, system() function of the C Standard Library is declared in stdlib.h so it should be:
#include <stdlib.h>
int main()
{
    system("regedit /s foo.reg");
    return 0;
}

Edit:
I think the import is already successful; since you've mentioned that it's a 64-bit XP machine, I think the change will be lying under the Wow6432Node. E.g. HKEY_LOCAL_MACHINE\SOFTWARE\Wow6432Node or HKEY_CURRENT_USER\SOFTWARE\Wow6432Node. So check under the Wow6432Node too. See this post and MSDN for more information on this.

redpajama_set_name: RedPajamaStackExchange


text:
Das Institut für Umformtechnik (IFU) in Lüdenscheid, mit vollem Namen Institut für Umformtechnik der Mittelständischen Wirtschaft GmbH, ist ein privatwirtschaftlich organisiertes Institut für wissenschaftliche und technische Beratung vor allem der Kleineisenindustrie und war ursprünglich vorwiegend für den Raum Lüdenscheid und Umgebung gedacht. Das Institut selbst liegt im Stadtteil Grünewald und grenzt direkt an die Stadtteile Innenstadt und Knapp an.

Das IFU ist ein angegliedertes Institut der Fachhochschule Südwestfalen.

Der Trägergesellschaft gehören derzeit (Juni 2007) 46 Unternehmen und Verbände an, darunter auch die Fachhochschule Südwestfalen.

Siehe auch
Kunststoff-Institut Lüdenscheid

Weblinks
Website des Instituts

Technisch orientiertes Forschungsinstitut
Unternehmen (Lüdenscheid)
Umformen


text:
L'ardennite-(As) est une espèce minérale du groupe des silicates et du sous-groupe des sorosilicates, de formule . Lorsque le groupe  remplace le groupe , il s'agit d'Ardennite-(V). Elle peut présenter des traces de titane et de cuivre.

Inventeur et étymologie
L'ardennite fut décrite initialement en 1872 par Lasaulx et Bettendorf et quelques mois après par Félix Pisani à Paris qui la nomma . C'est la description de Lasaulx qui a l'antériorité ; elle fut nommée ainsi d'après sa localité-type, dans les Ardennes en Belgique, puis, lorsque la variété ardennite-(V) fut découverte, elle fut renommée ardennite-(As).

Topotype
Salmchâteau, Vielsalm, Massif de Stavelot, Province de Luxembourg, Belgique

Cristallographie

 Paramètres de la maille conventionnelle :
 a = , b = , c =
 Z = 2, V =
 Densité calculée = 3,74

Cristallochimie
L'ardennite-(As) fait partie d'un groupe de minéraux isostructuraux : le groupe de l'ardennite.

Groupe de l'ardennite
Ardennite-(As) , Pnmm; 2/m 2/m 2/m
Ardennite-(V) , Pnmm; 2/m 2/m 2/m
Orientite , C mcm; 2/m 2/m 2/m

Gîtologie
L'ardennite-(As) se trouve dans les veines de quartz et de pegmatites, dans les schistes (Salmchâteau, Belgique)
Elle se trouve également dans les sédiments de manganèse très fortement oxydées et riches en aluminium.

Minéraux associés
quartz, albite, pyrolusite, piémontite, spessartine, braunite, hématite.

Habitus
L'ardennite-(As) se trouve sous la forme de cristaux prismatiques, automorphes qui sont très rares seuls. Les faces des prismes sont striées. Elle se trouve aussi en groupes radiés, pouvant atteindre .

Synonymie
 Dewalquite (Pisani 1872), nommée ainsi en l'honneur de G. Dewalque.
 Arsenioardennite, en raison de sa teneur en arsenic.
 Le terme générique ardennite désigne souvent l'ardennite-(As).

Gisements remarquables
Belgique
Salmchâteau, Vielsalm, Massif de Stavelot, Province de Luxembourg
France
Bonneval-sur-Arc, Maurienne, Savoie, Rhône-Alpes
Inde
Italie
Japon
Suisse
Pizzi di Maroz, Maroz Valley, Val Bregaglia, Canton des Grisons
Falotta, Tinzen, Chaîne de l'Oberhalbstein, Vallée de l'Albula, Canton des Grisons
Grande-Bretagne
Angleterre
Carrière de Torr Works (Carrière de Merehead), Cranmore, Somerset

Galerie

Notes et références

Bibliographie
Ann. Mines, 4 sér. (1842) 2, 357
Edward Salisbury Dana (1892) The System of Mineralogy of James Dwight Dana, 1837–1868, John Wiley & Sons, New York (NY), 6 éd., 1134 p., p. 542-543
P. B. Moore (1965) "Cell data of orientite and its relation to ardennite and zoisite", The Canadian Mineralogist, 8: 262-265
V. K. Nayak (1967) "Ardennite from Kajlidongri, India, New locality", Neues Jahrbuch für Mineralogie und Abhandlungen, 1967: 295-304
G. Donnay, R. Allmann (1968) " groups in the crystal structure of ardennite", Acta Crystallographica, B24: 845-855
R. Allman, G. Donnay (1971) "Structural relations between pumpellyite and ardennite", Acta Crystallographica, 27: 1871-1875
M. Pasero, T. Reinecke (1991) "Crystal chemistry, HRTEM analysis and polytypic behavior of ardennite", European Journal of Mineralogy, 3: 819-830
M. Pasero, T. Reinecke, A. M. Fransolet (1994) "Crystal structure refinements and compositional control of Mn-Mg-Ca ardennites from the Belgian Ardennes, Greece, and the Western Alps", Neues Jahrbuch für Mineralogie, Monatshefte und Abhandlungen, 166: 137-167
A. Barresi, P. Orlandi, M. Pasero (2007) "History of ardennite and the new mineral ardennite-(V)", European Journal of Mineralogy, 19: 581-587

Sorosilicate
Arsenic (minéral)
Manganèse (minéral)
Aluminium (minéral)
Magnésium (minéral)
Minéral orthorhombique


A fourth-generation in the thoroughbred industry, Dr. Shafer is originally from Benton, IL, and moved to Louisville after graduating from St. Louis College of Pharmacy in 1995. She earned her DVM degree with Highest Honors in 2017 from Ross University School of Veterinary Medicine, and completed her clinical year at The Ohio State University.
Dr. Shafer is currently working toward Acupuncture Certification; estimated completion in March 2019. She is a member of American Association of Equine Practitioners; the American Veterinary Medical Association; the International Veterinary Acupuncture Society; and the American Academy of Veterinary Acupuncture.


text:
Will the Web Make NC-17 Safe for Marketing?
Steven Titch
One of the more critically praised films this year has been Shame, which has been in limited release around the country since December. Although it's an independent production, the film is being distributed by 20th Century Fox, a major studio, and stars Michael Fassbender, an actor who appears to be in the middle of his breakout moment.
The film is also rated NC-17.
Until recently, the Motion Picture Association of America's NC-17 rating, which restricts admission to theatergoers 18 and older, was the box office kiss of death. Not only did NC-17 carry the notoriety of its predecessor, the X rating, it seriously hampered a film's marketing. Boys Don't Cry, The Cooler and Clerks are among the well-known examples of acclaimed films that were cut to win the more commercially acceptable R rating, in spite of protest from their filmmakers and actors that the cuts diminished the power and the point of the scenes in question.
But most newspapers and local TV stations won't carry ads for NC-17 movies. Some theater chains, such as Cinemark, won't exhibit them. Major retailers like Wal-Mart nor video rental chains like Blockbuster won't stock NC-17-rated DVDs.
In Hollywood, art and commerce have always been in tense balance. That balance may shifting as the Web becomes a larger factor in advertising. For example, a newspaper's policy against advertising NC-17 movies is meaningless if a theater chain no longer uses newspaper advertising at all. AMC, the second biggest chain in the country, has been cutting back on print advertising since 2009. Last June, the company documented its shift from print to Web in a quarterly filing with the SEC. Regal Entertainment Group, another chain, reportedly is following suit.
Meanwhile, consumers are buying and renting fewer DVDs from brick-and-mortar outfits, choosing to buy or rent online or simply watch on demand. Netflix, for example, makes Lust, Caution, a 2007 NC-17 feature directed by Academy Award winner Ang Lee, available both by mail and streaming.
Film promotion and advertising is a great example of the way the Web has become a significant marketing vehicle. Shame, albeit a grim, downbeat story of a sex addict and his troubled sister, not only opened to favorable reviews, it had one of the most impressive box office debuts for an NC-17 movie, averaging $36,118 per screen in a tight release in ten theaters in six cities the weekend of Dec. 2-4. By comparison, that weekend's box office leader, Twilight Saga: Breaking Dawn Part 1, averaged just $4,087 per screen. The Muppets, second place in total gross, averaged $3,222.
Now in wider release, Shame has made $2 million as of Jan. 3, and currently ranks eighth among the 26 NC-17 films released since 1990.
As for Web-based marketing, Shame has its own site at FoxSearchlight.com. Shame has a fan page on Facebook. "Shame" delivers several movie-related links on the first page of a Google search, pretty impressive when you consider the title is a fairly common keyword (somewhere John Bradshaw's eating his heart out).
You can find trailers for Shame at iTunes and Internet Movie Database (imdb.com), both mainstream sites for film previews. You don't have to look too hard to find the "red band" trailer, which is played in theaters only in front of R-rated movies. Studios and exhibitors also can reach audiences through sites like Yahoo and Flixster, as well as through social networking, email and Twitter. These alternatives counter the limitations of advertising policies of old media.
They also decrease the clout of the MPAA Ratings Board, which has been accused of ratings bias against smaller, independent features aimed at adult audiences. Probably the best evidence of this is presented in the documentary This Film is Not Been Rated. Well aware that an NC-17 rating can kill a film at the box office, the ratings board has not been adverse to using it as a club to tone down films which its members subjectively find either morally or tastefully questionable.
While the shortcomings of the MPAA's rating system have been discussed at length in many forums, I've always thought the most unfortunate aspect was that the MPAA never tried to counter the stigma of NC-17 as meaning "dirty movie." Unlike the Electronic Software Association, which devised the MA rating for video games while successfully communicating that the market can—and should—accommodate products designed exclusively for adults, the MPAA never tried to engage the media outlets, retailers and video rental companies that openly equated NC-17 with porn.
That Web-based marketing can chip away at this perception will prove much better for audiences and filmmakers. Most NC-17 movies are not aimed at mainstream moviegoers anyway. If Shame continues to find its audience—and draws more attention in the form of several Academy Award nominations, which many critics believe it will—studios may be less inclined to make compromising cuts on the MPAA's whim out of fear of losing box office revenues. And this means a little more weight on the "art" side of art-commerce balance.


Events for large and small companies: Gala Dinners, Working Meetings, Launching of products, Finger buffets, Caterings, Team Building, etc.
The Masia Xamandreu offers a great variety of rooms and terraces in which to hold company events. We have designated areas that can hold from 10 to 1,100 people with unique indoor and outdoor spaces in Valencia.
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Parking is available for the suitability of customers both for car and buses. Our location is just off the A-7 high which provides us with great accessibility from anywhere in the province of Valencia.
· Salones equipados con hilo musical.
· Fotocopiadora, teléfono, fax e internet.
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· Amplia gama de mantelería.
· Servicios de catering para empresas.
· Montajes para creación de diferentes ambientes.
· Diseño de minutas y protocolos.
· Contratación de servicio de autobuses.
· Contratación de disco móvil u otras ambientaciones musicales.


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text:
#include "config.h"

#include "xpgom/gomwrapped.hh"
#include "xpgom/xgWrapped.hh"
#include "gom/dom/gomdomexception.h"

#include "gommacros.h"

NS_IMPL_ADDREF (xgWrapped)
NS_IMPL_RELEASE (xgWrapped)

NS_INTERFACE_TABLE_HEAD(xgWrapped)
NS_INTERFACE_TABLE1(xgWrapped, xgPIWrapped)
if (NS_SUCCEEDED (gom_wrap_g_object (mWrapped, aIID, aInstancePtr))) {
    char nsid[NSID_LENGTH];
    aIID.ToProvidedString (nsid);
    g_print (GOM_LOC ("%s -> %s\n"), mTypeName, nsid);
    return NS_OK;
 } else
NS_INTERFACE_TABLE_TAIL

xgWrapped::xgWrapped (GType aType)
    : mWrapped (NULL),
      mType (aType)
{
}

xgWrapped::~xgWrapped ()
{
    if (mWrapped) {
	g_object_remove_weak_pointer (mWrapped, (gpointer *)&mWrapped);
	g_object_unref (mWrapped);
	mWrapped = NULL;
    } else if (mTypeName) {
	g_warning (GOM_LOC ("We had a %s, but now it's gone..."), mTypeName);
    }
}

nsresult
xgWrapped::Init (GType *ifaces, GObject *aObject)
{
    if (mWrapped) {
	return NS_ERROR_ALREADY_INITIALIZED;
    }
    if (!aObject) {
	if (mType) {
	    aObject = (GObject *)g_object_new (mType, NULL);
	    if (!aObject) {
		return NS_ERROR_OUT_OF_MEMORY;
	    }
	} else {
	    XG_RETURN_NOT_IMPLEMENTED;
	}
    }
    for (GType t = G_OBJECT_TYPE (aObject);
	 *ifaces;
	 ++ifaces) {
	if (!g_type_is_a (t, *ifaces)) {
	    return NS_ERROR_NO_INTERFACE;
	}
    }
    mWrapped = G_OBJECT (g_object_ref (aObject));
    g_object_add_weak_pointer (mWrapped, (gpointer *)&mWrapped);
    mTypeName = G_OBJECT_TYPE_NAME (mWrapped);
    return NS_OK;
}

/* xgNativeGObject getWrappedGObject (); */
NS_IMETHODIMP
xgWrapped::GetWrappedGObject (GObject **_retval)
{
    *_retval = mWrapped ? G_OBJECT (g_object_ref (mWrapped)) : NULL;
    return NS_OK;
}

redpajama_set_name: RedPajamaGithub


text:
\section{Introduction}

The Price equation has been used in many disciplines to study the forces that cause change in populations \autocite{frank18the-price}. In evolutionary biology, the equation separates the changes in traits caused by natural selection from the changes in traits that arise during transmission \autocite{gardner20prices}. The abstract expression of change often highlights general principles. For example, the Price equation shows that certain patterns of correlation between individuals provide sufficient statistics for the evolutionary forces that influence altruistic behaviors, the basis for kin selection theory \autocite{hamilton70selfish,frank98foundations}.

The Price equation has also been used in ecology to partition change in diversity indices into direct and indirect processes \autocite{godsoe19transmission}. Economists have used the equation to model the evolution of firms \autocite{metcalfe98evolutionary,andersen04population}. In physics and other disciplines, the Price equation neatly separates change caused by directly acting forces from change that arises indirectly from an altered frame of reference \autocite{frank18the-price}. The direct forces and the frame of reference are abstractions of the biologists' components of natural selection and transmission.

A recent collection of articles celebrates the 50th anniversary of the Price equation and summarizes applications across a wide variety of disciplines \autocite{lehtonen20fifty}.

The classic Price equation describes change in any population statistic that can be written in the form of an expected value. Many population statistics cannot be written in that form \autocite{bullen03handbook}.

This article generalizes the Price equation to handle most other forms of population statistics. We end up with the same generic partitioning of population change into two components: the forces that alter the frequencies of the entities that make up the population holding constant the measurements on each entity and the forces that alter the measurements on each entity holding constant the frequencies \autocite{frank12naturalb}.

\section{The Classic Price Equation}

Consider a population statistic that can be written as the expected value of some measurement
\begin{equation*}
  \bar{z}=\sum_i q_iz_i=\mathbf{q}\cdot\mathbf{z}.
\end{equation*}
The index $i$ denotes subsets of the population. The frequencies $q_i$ describe the weighting of each subset. The measurements $z_i$ are any value that may be associated with subsets. The statistic $\bar{z}$ is the expected value of the measurement.

Vector notation provides a more compact expression. The vectors $\mathbf{q}$ and $\mathbf{z}$ run over the indices $i=1,2,\dots,n$. The dot product, $\mathbf{q}\cdot\mathbf{z}$, yields the summation that defines the expected value.

For any population statistic that can be written as an expected value, the classic form of the Price equation partitions the total change in the statistic into two components. If we define the statistic in the altered population as $\bar{z}'=\mathbf{q}'\cdot\mathbf{z}'$, then
\begin{align*}
  \Delta\bar{z}&=\mathbf{q}'\cdot\mathbf{z}'-\mathbf{q}\cdot\mathbf{z}\\
          &=\mathbf{q}'\cdot\mathbf{z}'-\mathbf{q}'\cdot\mathbf{z}+\mathbf{q}'\cdot\mathbf{z}-\mathbf{q}\cdot\mathbf{z}\\
          &=\mathbf{q}'\cdot\Delta\mathbf{z}+\Delta\mathbf{q}\cdot\mathbf{z}.
\end{align*}
It is convenient to switch the order of the terms in the last line
\begin{equation}\label{eq:canonical}
  \Delta\bar{z}=\Delta\mathbf{q}\cdot\mathbf{z}+\mathbf{q}'\cdot\Delta\mathbf{z}.
\end{equation}
This expression provides the most basic form of the classic Price equation. Frank\autocite{frank12naturalb} relates this vector form to other notations, such as the covariance and expectation used by Price\autocite{price70selection,price72extension}.

Equation \ref{eq:canonical} follows the strictly defined set mapping scheme for the relations between entities in the two populations given in Frank\autocite{frank12naturalb}. For example, $q_i'$ is the frequency of entities in the altered population derived from entities in the original population with index $i$. Our extension in the following section also adheres to that strictly defined set mapping. See Frank\autocite{frank12naturalb} for further details.

The Price equation is simply the chain rule for differences applied to a population statistic. The first term on the right-hand side of \Eq{canonical} describes the change in frequencies when holding the measurements constant. The second term describes the change in the measurements when holding the frequencies constant. In the second term, the constant frequencies come from the altered population, because the consequences of the changed frame of reference depend on the frequencies in the altered population. We can express these partial changes with the notation
\begin{equation}\label{eq:partialz}
  \Delta\bar{z}=\Delta_q\bar{z}+\Delta_z\bar{z},
\end{equation}
in which $\Delta_q$ is the partial change with respect to $q$, and $\Delta_z$ is the partial change with respect to $z$ when evaluated in the altered population. See Frank\autocite{frank18the-price} for the abstract mathematical properties of the classic Price equation and applications of that abstract interpretation.

In biology, the partial frequency changes, $\Delta_q$, often associate with natural selection, which directly changes frequencies in proportion to Fisher's average excess in fitness. The partial measure changes, $\Delta_z$, often associate with changes in trait values during transmission. Thus, the Price equation provides a general separation between selection and transmission.

\section{The Generalized Price Equation}

Many population statistics cannot be expressed as the expected value of a particular measurement. Consider any population statistic that can be written as $f(\mathbf{q},\mathbf{z})$, where $f$ is a function that maps the population frequencies and measurements to some value. For example,
\begin{equation}\label{eq:inverseMean}
  f(\mathbf{q},\mathbf{z})=\frac{1}{\sum_iq_iz_i}.
\end{equation}
Many population statistics depend on the frequencies and values across population subsets \autocite{bullen03handbook}. So we should be able to write most population statistics as some function, $f$. The change in $f$ is
\begin{equation*}
  \Delta f = f(\mathbf{q}',\mathbf{z}')-f(\mathbf{q},\mathbf{z}).
\end{equation*}
Applying the same approach as in the derivation of the classic Price equation, we can add $f(\mathbf{q}',\mathbf{z})-f(\mathbf{q}',\mathbf{z})=0$ to the expression above and then re-arrange to obtain
\begin{equation}\label{eq:general}
  \Delta f = \@ifstar{\oldlrb}{\oldlrb*}{f(\mathbf{q}',\mathbf{z})-f(\mathbf{q},\mathbf{z})}+\@ifstar{\oldlrb}{\oldlrb*}{f(\mathbf{q}',\mathbf{z}')-f(\mathbf{q}',\mathbf{z})},
\end{equation}
which may be expressed in the partial difference notation as
\begin{equation*}
  \Delta f = \Delta_q f+\Delta_z f.
\end{equation*}

\section{Example}

Using the example function in \Eq{inverseMean} in the general form of \Eq{general}, we obtain
\begin{equation*}
  \Delta f=\@ifstar{\oldlrb}{\oldlrb*}{\frac{1}{\mathbf{q}'\cdot\mathbf{z}}-\frac{1}{\mathbf{q}\cdot\mathbf{z}}}
  		+\@ifstar{\oldlrb}{\oldlrb*}{\frac{1}{\mathbf{q}'\cdot\mathbf{z}'}-\frac{1}{\mathbf{q}'\cdot\mathbf{z}}},
\end{equation*}
from which we can derive an expression that contains the standard partial change terms of the classic Price equation, normalized by the average values of $z$, as
\begin{equation}\label{eq:generalD}
  \Delta f=-\frac{1}{\mathbf{q}'\cdot\mathbf{z}}\@ifstar{\oldlrb}{\oldlrb*}{\frac{\Delta\mathbf{q}\cdot\mathbf{z}}{\bar{z}}+\frac{\mathbf{q}'\cdot\Delta\mathbf{z}}{\bar{z}'}}.
\end{equation}
Using the partial change notion in \Eq{partialz}, we can write
\begin{equation*}
  \Delta f=-\frac{1}{\mathbf{q}'\cdot\mathbf{z}}\@ifstar{\oldlrb}{\oldlrb*}{\frac{\Delta_q\bar{z}}{\bar{z}}+\frac{\Delta_z\bar{z}}{\bar{z}'}}.
\end{equation*}
This simple form emphasizes the partial change expression. In many applications, these partial change terms associate with the direct effects of selection on frequency changes and the indirect effects of changes in measurement values during transmission.

\section{Recursive Multilevel Expansion}

The classic Price equation can be expanded recursively \autocite{hamilton75innate}. In \Eq{canonical}, the right-hand $\Delta\mathbf{z}$ term is the vector $\Delta z_i$ over the index, $i$. Each $\Delta z_i$ term may itself be considered as the change in the average value of $z$ within the $i$th subset or group. Each of those terms may be analyzed by the equation, in which
\begin{equation*}
  \Delta\bar{z}_i=\Delta\mathbf{q}_i\cdot\mathbf{z}_i+\mathbf{q}_i'\cdot\Delta\mathbf{z}_i.
\end{equation*}
Each group indexed by $i$ contains the next level of nested subsets. For example, $\mathbf{z}_i=z_{1|i},z_{2|i},\dots,z_{1|m_i}$. Multilevel expansions have provided insight into many applications \autocite{hamilton75innate,frank98foundations,hilbert13linking}.

We can hierarchically expand the generalized form in \Eq{general}. In the third right-hand side term of that equation, we write
\begin{equation*}
  f(\mathbf{q}',\mathbf{z}')=f(\mathbf{q}',\mathbf{z}+\Delta\mathbf{z}),
\end{equation*}
in which $\Delta\mathbf{z}=\mathbf{z}'-\mathbf{z}$. Now we have a $\Delta\mathbf{z}$ term, to which we can apply the classic Price equation.

In the example of \Eq{generalD}, the $\Delta\mathbf{z}$ term appears in the numerator of the final right-hand side term. That term can be expanded to evaluate hierarchically nested levels by the methods outlined here.

\section{Application}

Several widely used population statistics do not match the standard expected value form of the classic Price equation \autocite{bullen03handbook}. Our generalization provides a way to partition changes in such statistics into frequency changes and measure changes. We discuss the harmonic mean and the numbers equivalent of a diversity index.

The harmonic mean of a measure $y_i$ has the form of \Eq{inverseMean} when we define $z_i$ as $1/y_i$. The expression in \Eq{generalD} partitions changes in the harmonic mean into partial frequency change and partial measure change components.

Harmonic means arise is various population biology applications. The carrying capacity of a polymorphic population can often be approximated by a weighted harmonic mean of the carrying capacity of each type \autocite{anderson71genetic}. Optimal residence times of consumers may vary with the harmonic mean of the quality of resources in a given patch \autocite{calcagno14the-functional}. When mating occurs in local patches, the inbreeding level often follows the harmonic mean number of females per patch \autocite{herre85sex-ratio}.

The numbers equivalent diversity index can be expressed in the functional form of $f\@ifstar{\oldlr}{\oldlr*}{\mathbf{q},\mathbf{z}}$ by defining $z_i=q_i^{p-1}$ and then writing
\begin{equation*}
  f\@ifstar{\oldlr}{\oldlr*}{\mathbf{q},\mathbf{z}}=\@ifstar{\oldlr}{\oldlr*}{\mathbf{q}\cdot\mathbf{z}}^{\frac{1}{1-p}}.
\end{equation*}
This numbers equivalent form provides a general diversity expression that allows comparison of different diversity indices when expressed in common units \autocite{macarthur65patterns,hill73diversity,jost06entropy,jost07partitioning}.

Godsoe\autocite{godsoe19transmission} used the classic Price equation to analyze the simpler arithmetic mean diversity index $f=\mathbf{q}\cdot\mathbf{z}$ for $z_i=q_i^{p-1}$ for $p\ne1$. They demonstrated the value of partitioning changes in diversity into frequency change and measure change components to evaluate the role of selection in the dynamics of diversity. However, they could not generalize their results to the broader numbers equivalent form of diversity because the classic Price equation is limited to expected value statistics. We can now use the generalized Price equation to partition the change in the numbers equivalent diversity index.

\section{Conclusion}

The classic Price equation has been applied to a wide variety of problems \autocite{lehtonen20fifty}. Our results generalize the equation to population statistics that can be expressed as a function of frequencies and measurements. That generalization opens new problems for study.

\section*{Acknowledgments}

\noindent The project was supported by the Donald Bren Foundation (SAF) and the New Zealand Tertiary Education Commission CoRE grant to the Bio-Protection Research Centre (WG).

redpajama_set_name: RedPajamaArXiv


text:
Home » LEDs
Innovation: Technology Briefs
Once efficiency and cost issues are resolved, LEDs will be the next big thing in lighting.
Icrave Design Studio used Color Kinetics' LED cove lighting fixtures to illuminate this Lucite catwalk at the Dorsia Lounge in New York City.
KEYWORDS innovation / technology
Some say it's just a matter of time before light-emitting diodes (LEDs) eclipse traditional light sources, although the sun isn't going to set on them tomorrow. Right now, cost is the most obvious barrier to the acceptance of LEDs, except in maintenance-intensive applications like traffic lights. The other is their low efficiency, which today stands at a maximum of about 20 lumens per watt. "If output can go up by 10 times, and the price can come down 10 times, then it will start penetrating into lighting applications," says the Lighting Research Center's Dr. Nadarajah Narendran, who envisions that these developments will take five to 10 years.
Color rendering capabilities must also continue to improve to make the technology practical for general illumination purposes. "We don't feel the white LEDs are quite ready for prime time," says Kevin Dowling of Color Kinetics, a Boston-based manufacturer of LED products. "But two years from now, I believe you'll be seeing massive improvements in efficiency and color."
But the advantages of LEDs are indisputable. One is long life. "If an LED has 100,000 or 200,000 hours of lifetime, it becomes equivalent to a building material," Narendran continues. "All of a sudden the way we light our spaces is different.
Another benefit of LEDs is that because they operate on just a few volts and draw milliamps of current, they produce no heat and can be directly controlled by a digital interface. Lamps running on line voltage are usually controlled by rheostats, mechanical relays, or large transistors. A number of Color Kinetics's products take advantage of the ease with which LEDs can be digitally controlled. The company has just introduced the Chromasic microchip, which combines digital LED control and communications technology into a single silicon chip. "This is a very big step in making systems viable for large-scale implementation," says Dowling. "It means you can control a single LED or a large panel of LEDs."
The Chromasic chip is used to control Color Kinetics' IColor Tile FX, pictured at right. Each tile is a 2-foot-by-2-foot panel that contains 144 "nodes," each comprising a red, green, and blue LED. Each node is about the size of a pencil eraser. The brightness of each LED can be individually addressed so that it is possible to create vibrant, moving displays of color. Up to 64 billion color combinations can be created.
In a similar vein, electronic controls could be developed to adjust solid-state lighting to an unprecedented degree to create different color temperatures. Bill Ryan, of Philips Lighting, says, "In the morning, you could get 3,000 degrees Kelvin, and in the afternoon, you could change that to 4,000 K." Offices could adjust based not only on time of day and occupancy, but on precisely where the occupants
are in the space.
New: LEDs in a sheet
Organic light-emitting diodes are beginning to make their way into prototype architectural applications, such as those supplied by DuPont for KieranTimberlake's SmartWrap exhibit, and are also being developed by Philips, General Electric, and other companies. OLEDs comprise thin layers of organic electroluminescent material sandwiched between layers of electrodes, all embedded in a base material. Light is emitted when voltage is applied to the electrodes. The assembly may be no thicker than a coin. Although the most sophisticated OLEDs can display information exactly like the color liquid-crystal displays found in laptop computers, they can also be quite simple, displaying one color alone. They have many advantages over LEDs that make them much more suitable for architectural applications: They require no backlighting; they work in cold temperatures; they are cheaper and easier to manufacture, and they're more energy efficient. They are also more stable when applied over large areas. DuPont's Olight Web site, www.olight.com, promises that the day will come when OLEDs will be manufactured in rolls. As with LEDs, cost and efficiency issues must still be overcome. "Our ultimate goal is to get OLEDs more efficient than fluorescents," says Anil Duggal of General Electric's Global Research Center. She says that goal remains at least 10 years down the line.
LEDs Get Connected
Ever the Visionary, Lebbeus Woods Gets Real
Homo Lumens, L'nch'd 19 hotel Lighting Projects


Ali Afrous - Department of Water and Soil Engineering, Dezful Branch, Islamic Azad University, Dezful, Iran.
Saeed Taheri Ghanad - Department of Water and Soil Engineering, Dezful Branch, Islamic Azad University, Dezful, Iran.
Shahram Godarzi - Department of Water and Soil Engineering, Dezful Branch, Islamic Azad University, Dezful, Iran.
Introduction:The surface area under cultivation can be increased by the deficit irrigation in the condition of water restriction through water savings. The management of deficit irrigation is one of the savings strategies in water resources in agricultural sector. In the condition of deficit irrigation, the amount of product per unit area is less than the maximum production per unit of area, but the profit is increased.Material and method:A factorial experiment with a randomized complete block design with three replicates was conducted in the 1389-90(AHS) crop year in order to study the yield functions toward the deficit irrigation of grain maize in the hot and dry climate of Dezful. The first factor included four levels of water I100%, I80%, I60% and I120% crop water requirement and the second factor consisted of three levels of nitrogen fertilizer, N200, N150 and N250 kg nitrogen per hectare.Result and discussion: The result of this research showed that in irrigation treatments 60%, 80%, 100% and 120% water requirement in the fertilizer level of 150 kg of nitrogen per hectare, the slope reduction of yield was 0.14, in fertilizer level of 200 kg of nitrogen per hectare, the slope reduction of yield was 0.15 and in 250 kg fertilizer level of nitrogen per hectare, the slope reduction of yield was 0.44. The investigation also indicated that because there is no significant difference in the grain yield between the water level of 80% and 100% water requirement, in conditions which we have to apply mild deficit irrigation, the irrigation treatment of 80% water requirement for corn is recommended.


text:
Let's Pretend We're Famous — Act II Playhouse
Theatrical fame, Tony Braithwaite and Jennifer Childs point out in their vaudeville pastiche, "Lets Pretend We're Famous," could once be achieved, at least locally, by procuring a barn, hanging a table cloth as a curtain, and putting on show.
This process worked over and over again for Judy Garland and Mickey Rooney, as Braithwaite and Childs also note.
Braithwaite and Childs are in lucky positions to continue this time-honored show biz tradition. Jen is the founder and artistic director of 1812 Productions. Tony is the artistic director for Act II Playhouse. "Let's Pretend We're Famous" began on Jen's stage. It is now appearing, with the same zest in which Garland and Rooney endowed their shows, at Act II Playhouse, where it remains in residence through January 26.
Speaking of theater traditions, odds are good that at least one origin of theater, of any kind, begin with the words, "Let's pretend." And Tony Braithwaite and Jennifer Childs certainly qualify as odd. (Bah-rump-bump; a little vaudeville humor there. Braithwaite isn't the only one who can channel George Burns.)
In "Let's Pretend We're Famous," they don't mince around the stage acting as if they're waving to people as they pass them standing in line, or insisting on table in full restaurant because they are, after all, celebrities the rules for whom are different from rules for others. Braithwaite and Childs are more interested in looking at various kinds of fame from various angles. In keeping with Jen Childs's scholarly way of examining a subject, they quote what people have said about fame, their own and others. They spoof fame that occurs more in one's mind than it does in wide, wide world. They take advantage of fame to give themselves superb featured numbers that both talk about fame and demonstrate why Tony and Jen have both attained it in Philadelphia-area theater. They also explore Andy Warhol's famous, though long-bearded and grizzled, statement about everyone in the future, i.e. now, being famous for 15 minutes.
Ah, yes folks, that means audience participation, the bringing of some unsuspecting person who has not been to rehearsal and does not know the bits or blocking to the stage for a moment in the spotlight that can range from triumph to mere humiliation to utter disaster.
On the evening I saw "Let's Pretend We're Famous," everyone was lucky beyond expectation. Tony isn't an artistic director for nothing. His keen eye for natural talent focused on Doug Smithman, an engineer with no show business experience, although I heard while leaving Act II that he had been tapped for an audience participation gambit in New York. Smithman was brilliant. He was not only cooperative. He was entertaining and showed genuine acting ability, comic and otherwise. He was a perfect choice who enhanced a segment that could go another way with a less ready and able person. Smithman did what we was asked. He never tried to top or take over from Braithwaite or Childs, both of whom has been to rehearsal, and he followed direction beautifully, The sequence was quite entertaining, Tony and Jen both being adept at improvising and knowing when to go back to the script they had carefully prepared to insure they could last 15 minutes with an amateur who did not know what was coming next.
The "Warhol" segment is a sort of "This is Your Life," the 50's television program with Ralph Edwards in which a celebrity is surprised — He or she, a celebrity, has been invited to a television studio to see a show called "This is Your Life" and is surprised — at being brought to the stage and confronted with people from all periods and conditions of his or her existence. It was a precursor of Facebook from before the time when Al Gore invented the Internet.
Braithwaite and Childs don't use the "This is Your Life" format as much as the idea and taking a famous person, Smithman in this case, from a fictional rise to Hollywood heights to a shameful downfall that is bound to lead to "Dancing With the Stars." Their preparation is excellent, and the bit, bless Doug Smithman, worked.
The best parts of "Let's Pretend We're Famous" occur after Braithwaite and Childs set up the aspect of fame they intend to illustrate and perform.
It is in their individual and dual performances that they not only demonstrate but prove the value of vaudeville and their own versatility as entertainers of high caliber. Comedy bits are followed by musical numbers, including presentational pieces by Noel Coward and Stephen Sondheim that show Tony and Jen's ability to hold an audience and give them something fine to appreciate. The send-up of career-long lounge performers doing a gig as headliners on a cruise fizzes with dead-on accuracy while, borrowing from Coward on my own, and paraphrasing him, proving the potency of cheap entertainment.
Everything Tony and Jen do is predicated on some level or vestige of fame. The most stunning segment of the show, stunning in the sense that it turned the Act II auditorium into the only place you'd want to be in the world during those minutes was Jennifer's singing of "Ordinary People," an expansion of "Heigh Ho, the Glamorous Life" Sondheim wrote for the 1977 movie version of "A Little Night Music."
The purpose of the song is for a young girl, just entering adolescence, to tell what it's like to be the daughter of one of Sweden's most famous actresses. She compares her famous, allegedly glamorous mother, to the mothers of her friends, mothers who are domestic and omnipresent but not famous. Ordinary.
Childs rivets the room with her rendition. Using the girlish soprano key in which the song is written, she makes the audience see the admiration a daughter has for a woman she rarely sees and who everyone knows that happens to be her mother. Love and regard inform Jen's always true phrasing. She keeps up with the fast tempo Sondheim plots while eking out all of the meaning and keen-eyed but warm sentiment of the lyric. The song relates the practical life of a professional and well-known woman in the form of a love song from her daughter. It is filled with comedy and life, yet I was tearing as Childs sang it. Luckily, modern productions of "A Little Night Music" find a way to include it — the Menier's 2008 script being a fine clue. The song is rarely done outside of Sondheim's show, and it was a special treat to hear Childs do it so wittily and movingly.
Braithwaite captures attention with a bright, pointed version of Noel Coward's admonition to a woman who is ambition to get her daughter into the theater, "Don't Put Your Daughter on the Stage, Mrs. Worthington," which The Master allegedly wrote in response to a flood of correspondence from women who wanted him to include their daughters in his next theater production.
Braithwaite does this number early in "Let's Pretend We're Famous." On the evening I saw the show, the light board malfunctioned, and there was a 25-minute delay. "Mrs. Worthington" came soon after power and "Pretend" were restored, and I think the delay was a handicap.
Not because Braithwaite didn't sing the number with all of the comic venom it secretes or as effectively as Childs sang "Ordinary People," but because the flow of "Pretend" was interrupted, and the number seemed to arrive suddenly without a paced build-up or a feeling of natural progression.
The conditions did not stop Braithwaite from making the number a success. He rightfully deserves credit for launching into it in less that ideal, or usual, circumstances.
"Mrs, Worthington" builds from a gentle suggestion that young Miss Worthington may not be suited to a small part let alone a career on the stage in spite of her "nice hands" to an exasperated rage at the temerity of Mrs. Worthington to persist in promoting her squinting, wide-seated girl after "Coward" has so diplomatically tried to say 'no.' Braithwaite handles that progression with his usual aplomb and talent for precise diction and comic meaning. The build was particularly important on the night when the lights misbehaved. It gave Tony a chance to establish the number and bring the crowd to him soon after it settled down from the pause in "Pretend." In doing Coward's song, Braithwaite also restored the flow of the show.
Braithwaite and Childs both love comedy and are known for their sharp line readings and comic portrayals. In "Let's Pretend We're Famous," they not only show their mettle in sketch comedy but also to pay affectionate tribute to some wonderful comedians. A George Burns-Gracie Allen routine is a highlight of the show, with both performers getting their characters right in terms of tone and timing. Each will show his/her mimicking ability again as Childs catches every inflection of Joan Rivers while interviewing Smithman on the red carpet, and Braithwaite does a magnificent Louis Armstrong.
Song and dance numbers abound whether Braithwaite and Childs are punctuating something they say with a fist pump and the phrase, "Fame, I'm going to live forever," from the 1980 movie musical, "Fame" or doing an actual Judy Garland number, one she did with Fred Astaire in "Easter Parade," the clever and always entertaining "We're a Couple of Swells." Using a soft-shoe approach, Jen and Tony once again show the vibrancy and wit of tried-and-true vaudeville fare.
Their skill at satire and parody comes through in "Pretend's" finale, a scene in which a famous singing couple, T.B. and Jen — Were you named after a disease? — appear on the Lido deck of a Caribbean-bound cruise ship.
The setting could not be more apt. Braithwaite and Childs show the talent and musical versatility of a Steve Lawrence and Eydie Gorme, who were fine entertainers in spite of being a symbol of a slick, Vegasy nightclub act, while exuding the delusional essence of small-timers who believe they're the pajamas while they are, and to the knowledge of many, hardly qualified to be a long V-necked T-shirt, off-brand.
Tony and Jen go into a medley of schmaltzy cliched songs, performed parodically in an overdone, overemphasized manner while also showing the pair's ability to handle all kinds of music and all levels of performance. The patter between the songs is melodramatic and equally overbearing. Within all of the spoofing, they retain the idea that T.B. and Jen are talented and well-known enough to mean something to the passengers on the ship. Lines between fatuousness and genuine entertainment savvy are deftly crossed and give the T.B. and Jen bit texture that takes it beyond a simple sketch.
The T.B. and Jen show is a shrewd sequence that lets you know Braithwaite and Childs realize the difference between good and bad and can present questionable renditions of dismissible songs with the same reverence their alter egos would while remaining firmly comic in intent and approach. It's is the perfect ending for a satisfying show.
Braithwaite and Childs are smart. Their chops as entertainers could not be more finely honed. "Let's Pretend We're Famous" is bright fun because Tony and Jen are so assured in their talent and so welcoming to an audience they never take advantage of their show's title to high hat. They also have a lot to offer in all fields of performance. Both start with acting. Line reading and characterization, even when they are appearing presentationally as themselves, provide a solid basis to their work. You see the Tony Braithwaite or Jennifer Childs brand through all of their routines but delight in how easily they can slide into a persona while retaining their individual qualities. As a singer, Childs has a tendency to use the key in which a song is written and shows off all facets and ranges of her voice. As actors, both Braithwaite and Childs move quickly into character and have you involved before almost before you've had time to notive they've made a transition. This pair deserves to be famous. In a fairer world, one that pays attention to the brightest performers on the local stage, they would be known as well as LeShawn McCoy, Chase Utley, who is cited in "Pretend," or Jim Gardner. They are that important to the cultural fabric of the city, assets that should be lauded and recognized on a wide scale. Great theater minds who can take their concepts and realize them in a show like "Pretend" are rare. Add writing and direction to the list of their skills. Add being aware of the world to the factors that sharpen and inform their comedy. Stage presence often hides the effort needed to achieve a show like "Pretend." Tony Braithwaite and Jennifer Childs are stage presence personified. They are seasoned professionals who have proven their talent in a range of shows, and it is a treat to see them use their combined skills and accumulated experience to see them entertain so grandly.
Owen Robbins is excellent as musical director and accompanist for the show. Costume are, fittingly, and well-fittedly, a tux for Tony and a classic black dress for Jen. (I was going to write "little black dress," but given Jen's height — and my own — I decided on a different adjective,) The set is immaterial. Tony and Jen play on an empty stage surrounded by scenery from "Murray the Elf," which Tony acknowledges.
"Let's Pretend We're Famous" runs through Sunday, January 26 at the Act II Playhouse, 56 E. Butler Avenue, in Ambler, Pa. Showtimes are 8 p.m. Wednesday through Saturday and 2 p.m. Sunday. 2 p.m. matinees are also scheduled for Wednesday, January 15 and Saturday, January 25. Tickets range from $34 to $27 and can be ordered by calling 215-654-0200 or going online to www.act2.org.
2 comments on "Let's Pretend We're Famous — Act II Playhouse"
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Great website. Lots of useful info here. I'm sending it to several buddies ans also sharing in delicious.
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This entry was posted on January 14, 2014 by nzoren in Theater Reviews and tagged Act II Playhouse, Comedy, Jennifer Childs, Let's Pretend We're Famous, Owen Robbins, Parody, Sketch comedy, Song and dance, Tony Braithwaite, Variety, Vaudeville.
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text:
<?php

namespace BenGorFile\File\Application\Command\Remove;

use BenGorFile\File\Domain\Model\FileDoesNotExistException;
use BenGorFile\File\Domain\Model\FileId;
use BenGorFile\File\Domain\Model\FileRepository;
use BenGorFile\File\Domain\Model\Filesystem;

/**
 * Remove file handler class.
 *
 * @author Beñat Espiña <benatespina@gmail.com>
 * @author Gorka Laucirica <gorka.lauzirika@gmail.com>
 */
class RemoveFileHandler
{
    /**
     * The filesystem.
     *
     * @var Filesystem
     */
    private $filesystem;

    /**
     * The file repository.
     *
     * @var FileRepository
     */
    private $repository;

    /**
     * Constructor.
     *
     * @param Filesystem     $filesystem  The filesystem
     * @param FileRepository $aRepository The file repository
     */
    public function __construct(Filesystem $filesystem, FileRepository $aRepository)
    {
        $this->filesystem = $filesystem;
        $this->repository = $aRepository;
    }

    /**
     * Handles the given command.
     *
     * @param RemoveFileCommand $aCommand The command
     *
     * @throws FileDoesNotExistException when file is already exists
     */
    public function __invoke(RemoveFileCommand $aCommand)
    {
        $id = new FileId($aCommand->id());

        $file = $this->repository->fileOfId($id);
        if (null === $file) {
            throw new FileDoesNotExistException();
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        $this->filesystem->delete($file->name());

        $this->repository->remove($file);
    }
}


text:
Q: providing targeting filtering in page posts queries Is it possible to pass a targeting query to the graph api when requesting facebook posts?
If so, how should this be done ?
I found this question:
How to specify location targeting of FB post via Graph API
And this one
Geotargeting Page Posts with the Facebook API
But it doesn't seem to work, I've been trying the following in the graph explorer.
And a lot more permutations as well.
PAGE_ID/posts?fields=targeting({'countries' : ['DE'] })
PAGE_ID/posts?fields=targeting("{'countries' : ['DE'] }")
PAGE_ID/posts?targeting={'countries' : ['DE'] }
PAGE_ID/posts?targeting={countries : ['DE'] }
PAGE_ID/posts?targeting="{'countries' : ['DE'] }"
PAGE_ID/posts?targeting="{countries : ['DE'] }"

With all these queries I keep just getting non filtered results or errors.
Is there a correct way to do it, and is there maybe any documentation anywhere ?

A: You cannot use query qualifications like you posted witht he Graph API in general. The targeting and feed_targeting fields are set upon the publishing of Posts (https://developers.facebook.com/docs/graph-api/reference/page/feed#pubfields).
What you could try is using the FQL stream table to get the posts with a certain targeting:
select post_id from stream where source_id={page_id} and feed_targeting.country in ('DE')

Be sure to notice the access restrictions:

To read the stream table you need read_stream permissions for all
  posts that the current session user is able to view, read_insights
  permissions to see post impressions for any posts made by a Page owned
  by the current session user.


I have a one hour long conversation with my mother almost everyday after work, mostly when I am cooking dinner. It serves two purposes, (1) speaking with Mom while cooking reminds me of home except that I'm cooking here (thats how I learnt to cook, I would chat with Mom while she cooked for us) and (2) Whenever I forget a recipe, I have help at hand.
Today's dinner featured palak paneer and me teasing Mom about her pretending to be large-hearted and Mom trying to convince me while laughing helplessly, "No, I'm seriously so large-hearted." Anyway, its a sort of inside joke (For the sister and brother - this refers to my surprise at Mom's Social work and the famous "You are SO not the social work kinds" to which Papa said, "Thats absolutely true" and then meekly saying, "I'm just saying..." when Mamma turned to glare at him.) and pretty boring for anyone who's not my sister and brother, so sorry.
Anyway, the way Mom and I make Palak paneer is super simple. It takes us 20 minutes in all. I shall post the pictures later.
Put spinach, tomatoes, ginger, garlic, chillies, water and salt in a pressure cooker. Cook until 3 whistles. Take off heat, cool and wait for the pressure to go down. When it has cooled, with an immersion blender, blend the spinach until it forms a puree.
Heat ghee in a pan, add cummin. When cummin starts crackling, add the spinach puree, the paneer and cook until the puree starts bubbling. Serve with rice or rotis.


While hanging the show at Lighthouse, I decided to leave one piece of work untitled and invite visitors to name it instead.
The piece is a labyrinth made up of 3 Ordnance Survey maps of the local area – Landranger 157, Bournemouth and the Purbecks 1974, 1991 and 2014. The 3 editions of the same map are woven together to create the labyrinth, which is based on a traditional maze design dating from the 1800s. The walls marking the pathways are blue and are made up of strips of sea from the maps, whilst the pathways themselves are made up of 'A' roads and 'B' roads in the various colour codes that we are so familiar with from OS maps.
So, the winner, whose title gets chosen on Saturday 5th December – the last day of the exhibition run, wins a voucher to spend at The Square and Compass on whatever they choose. An afternoon chilling out in the fresh Purbeck sea air, waling for miles along the gorgeous coastline, then coming back for a well-earned refeshment or cosying up to the fire in the lounge by the bar… all of these are perfect ways to enjoy!
So, please spread the word and encourage people you love to come down and visit the exhibition and enter the competition. Lighthouse Gallery is open Tue – Sat 11am – close (about 10 pm).
One Response to "'Untitled' competition at Lighthouse"