text:
Greenwich Revised : Conrad's The Secret Agent and Swift's Waterland
The history of the descriptive and pictorial representation of Greenwich is inevitably a history of hyperbole, evident in all topographical and antiquarian accounts from the Elizabethan William Camden, through such 18th-century commentators as Robert Dodsley and Henry Chamberlain, to 19th-century successors like Walter Thornbury and Edward Walford. It is against this dominant representational tradition that the two best-known 20th-century literary evocations of Greenwich, those found in Joseph Conrad's The Secret Agent (1907) and Graham Swift's Waterland (1983), implicitly locate their own revisions of the area's emblematic possibilities. By contrast with the conventional representational tradition, both Conrad and Swift use Greenwich's connotative power not to celebrate the human capacity to create structures of achieved form but rather to expose form's illusions, not to say delusions. Whether this exposure is made, as in The Secret Agent, to undermine naïve faith in the transparency or objectivity of socio-political structures and motives or, as in Waterland, to complicate equally facile assumptions about historical process or the accessibility to reason of the mysteries of individual psychology, both novels question whether the human impulse to impose meaningful structure on the anarchy of contingent circumstance can ever in any genuine sense succeed. Standing at each end of a century that offered severe challenges to the extraction of historical or ethical meaning from political chaos and human tragedy, these two novels make striking revisions to Greenwich's longstanding iconic resonances. Conventionally portrayed as a majestic and moralized prospect redolent of fulfilled national, imperial, architectural or scientific form, Greenwich becomes in these works the ironized backdrop to threatening evocations of the inevitable failures of all attempts to make meaning out of experiential chaos.
William Camden's account is exemplary of what Greenwich's resonances, aided by its status as the birthplace of Henry VIII, Mary I and Elizabeth I -– and deathplace of Edward VI -– had already become for the chronicler/antiquary by the end of the seventeenth century:
The place is now famous for the royal palace built by Humphry duke of Gloucester, and called Placentia, enlarged in a magnificent manner by Henry VII. who added a small house of friars mendicants, and finished the tower the duke Humphry began on a high hill, which commands an extensive and beautiful prospect over the meandering river and the verdant meads. This place is greatly indebted for additional handsome buildings to its new inhabitant Henry Howard earl of Northampton. But the greatest glory of Greenwich is our sovereign Elizabeth, who was born here under a most fortunate planet, and diffused so much lustre of royal virtue all over Britain, as well as over the whole world, that words are wanting to express her surpassing praise. Take, however, these lines of Leland the antiquary on Greenwich. . . .
Behold the glories of the place,
Bedeckt with each celestial grace,
Fit seat of Gods! The roofs how gay
The painted windows' rich array,
The lofty tow'rs that kiss the skies;
The bow'rs a ceaseless spring supplies,
The gardens trim, that Flora court
To make this spot her lov'd resort,
And willing yield their royal lords
The richest bounties she affords.
What skill these varied beauties plann'd
That thus adorn old Thames's strand,
And, conscious of its future fame,
Devis'd Placentia for its name?[1]
The early association of Placentia with Duke Humphrey, younger brother of Henry V, adds its own distinctive cultural seasoning to this richly evocative landscape. At the centre of what became the Palace of Placentia was the country house, Bella Court, which stood where Greenwich Hospital was subsequently built. It was here that Humphrey created a literary centre and library that ultimately became the core of Oxford's Bodleian Library. In addition, he built a defensive tower on the site of what later became the Royal Observatory. Thus an association with learning was an early adjunct to Greenwich's fame as a royal demesne.
The end of Elizabeth's reign heralded the beginning of Royal Greenwich's decline. James I favoured Whitehall Palace, notwithstanding the commissioning of Inigo Jones to design what became the Queen's House (begun for James's wife, Anne of Denmark, and completed for Charles I's wife, Henrietta Maria). The combination of malign neglect during the Commonwealth and the financial constraints on Charles II's ambitious plans to rebuild the palace arbitrated against Greenwich's ever re-ascending to its former glory as a royal residence. One wing of Charles's projected building, designed by John Webb, was complete by 1665, in time to become the temporary home of the naval administration offices during the plague year. By the end of the century, the seeds of Greenwich's enduring association with scientific, naval, navigational, and hence imperial, endeavour had been sown. During 1675-76, John Flamsteed's Royal Observatory complex had replaced the ruins of Duke Humphrey's Tower atop Castle Hill, and in 1695, William III issued the charter founding, in memory of his dead wife Mary, a hospital "for the reliefe and support of Seamen serving on board the Shipps and Vessells belonging to the Navy Royall."[2] Thus although Charles's grand design for a new palace had effectively died with him, the circumstances for ensuring that the customary descriptive tenor applied to Greenwich would survive had already been created. The only real change was in the terms rather than in the magnitude of the hyperbole.
The entry on Greenwich Hospital in Dodsley's London and Its Environs Described (1761), published only a decade after work on the Hospital (more than fifty years in the making) was finally completed, sounds the familiar encomiastic note:
GREENWICH HOSPITAL, stands on the spot, where stood the palace of several of our Kings. The first wing of this noble and superb edifice, erected by K. Charles II. was designed to be applied to the same use. Indeed from the magnificence of the structure, it can scarcely be taken for any thing less than the palace of a great monarch. However King William III. being very desirous of promoting the trade, navigation, and naval strength of this kingdom, by inviting great numbers of his subjects to betake themselves to the sea, gave this noble palace, and several other edifices, with a considerable spot of ground, for the use of those Englishmen and their children, who by age, wounds, or other accidents, should be disabled from farther service at sea, and for the widows and children of such as were slain in fighting at sea, against the enemies of their country. King William also by his letters patent, in 1694, appointed commissioners for the better carrying on his pious intentions . . ."[3]
Not only do nobility and magnificence inhere in the structure but the values the structure embodies and glorifies define the moral equivalents of that nobility –- service, patriotism, family, piety, generosity, and charity (in the most positive of biblical resonances of a term that will increasingly throughout the nineteenth century come to develop a much less altruistic and compassionate inflection). Similarly, Chamberlain's New and Compleat History and Survey of the Cities of London and Westminster (1771) describes the hospital as standing "where once was situate the palace of several of our kings" referring to it as "this noble and superb edifice . . . from the magnificence of the structure, it can scarcely be taken for any thing less than the palace of a great monarch."[4] Phillips's Modern London (1804) accompanies its print of "The West India Docks in the Isle of Dogs, with Greenwich Hospital in the foreground" with the observation that the hospital is "a foundation so closely connected with London, of such extraordinary magnificence, and so well worthy the attention of all persons visiting this city, that the account of buildings, dedicated to public charities, will most properly begin with this edifice."[5] Sarrett's New Picture of London for 1803-4 enthuses about the "Royal Hospital for Invalid Seamen, which is a most magnificent building, and greatly admired, not only by Englishmen, but by every foreigner of taste."[6] In The History of London and its Environs (1811), Henry Hunter begins his discussion of Kent with Greenwich, observing that "[i]t is not remarkable that the town of Greenwich should first present itself, whether we consider its proud connexion with the metropolis; its situation on the river, than which nothing can impress foreigners with a more striking idea of our progress in every civilized art; or the noble institution of its hospital, majestic in its appearance, and the benevolent object of which is so widely and so effectually diffused."[7]
The two prints of Greenwich contained in Charles Heath's Views of London (1825) -– one of London as seen from Greenwich Hill, the other of Greenwich Hospital -– are the occasion for very explicit conflation of Greenwich's scenic, mercantile and naval/imperial properties. Of the view of London Heath asserts:
It is difficult to find a View more generally attractive than that of the Thames and the Metropolis from Greenwich Hill. The sylvan beauty immediately surrounding the spectator in the Park finely contrasts with the great Emporium of the trade and commerce of the world, and the home of every refined art and ennobling science, discernible in the vapoury distance. As the eye bends towards the foreground, the bosom of the Thames expands, and becomes animated with "glittering ships;" — while the appearance of an occasional vessel of war points out the Dockyard at Deptford, and insensibly awakens the patriotic recollections connected with the still nearer magnificence of Greenwich Hospital and College.[8]
In relation to the view of Greenwich Hospital, those patriotic recollections generate specific comparison with the (almost) comparably august military hospital prized by the recent enemy whose navy had been so soundly despatched twenty years earlier at the Battle of Trafalgar:
If it must be acknowledged that our 'Chelsea' cannot bear comparison with the 'Invalides' of Paris, yet it cannot be denied that Greenwich Hospital is without a rival in the world. No national establishment reflects such a lustre on our country as this magnificent asylum for the brave and worn-out defenders of England. Her highest and truest glory is in that naval pre-eminence which she claims undisputed, and rides Queen of the Seas; and there is something sublime in the gratitude with which she cherishes in age, infirmity, and wounds, the hardy veterans who have fought her battles and wreathed her with never dying laurels.
In these eighteenth and early-nineteenth century accounts, Greenwich's ability to "impress foreigners" is recurrently seen as no small part of its glory. The extent of this impressive capacity had been clearly demonstrated in Pierre-Jean Grosley's, A Tour to London, as translated for the English market by Thomas Nugent in 1772:
The observatory is as deserving of admiration on account of its situation, as it is respectable for its use; it exhibits the finest, the most exquisite, and the grandest landscape in England. In a space of five or six leagues on every side, the centre of which is occupied by London, it takes in the most agreeable part of the course of the Thames, surrounded by fields, which are covered with villages, palaces, and country houses; a prospect comparable to that of Lombardy at the descent of the Alps, or the Apennines; or rather to that of the country about Rome, seen from the eminences of Tibur and Tusculum, during the most flourishing times of the empire. [9]
Against this visual evocation of imperial grandeur and its implicit association with the scientific innovations that helped develop and support the naval pre-eminence on which that empire depended, the evolution of the Queen's House into the Royal Hospital School (1712), and finally the National Maritime Museum (1937), and of the Royal Naval Hospital itself into the Royal Naval College (1873) appears a natural progression. Indeed, even the placing adjacent to the Royal Observatory of Tait Mackenzie's statue of James Wolfe -– presented in 1930 by the people of Canada (and unveiled by the Marquis de Montcalm, a descendant of Wolfe's honoured adversary at Quebec) –- makes a fitting late addition to Greenwich's capacity to evoke in such richly resonant ways these historical, architectural, perspectival, scientific, literary and imperial echoes of what successive generations of commentators have clearly seen as a formally contained topographical microcosm of fundamental attributes of England's national identity, not to say destiny.
As the ultimate expression of Greenwich's imperial reach, its eventual adoption, at the 1884 International Meridian Conference in Washington, as site for the prime meridian, took on (especially to those countries, most notably France, who resisted the process) the attributes of a spatio-temporal colonisation of the world. One country after another accepted Greenwich as not only the spatial designator of 0 longitude but also the temporal coordinator -– Greenwich Mean Time -– that logically followed from it. [10] As the Greenwich 2000 website (http://wwp.greenwich2000.com) uncompromisingly if somewhat simplistically asserts, Greenwich "defines both time and place for the whole world." In 1999, Clive Aslet, while observing that "[w]ith the exception of New Zealand, every country in the world will take the start of the new millenium as 00h 00m 00s Universal Time (within 0.9 of a second of Greenwich Mean Time)," took this proposition as meaning that "the millenium begins at Greenwich." [11]
Since after such a statement, hyperbole would appear to be left with no new worlds to conquer, I would like to turn now to the two most notable twentieth-century literary renderings of Greenwich, those in Conrad's The Secret Agent and Swift's Waterland. Both invite a sceptical engagement not only with Greenwich itself but also with all possibility of establishing meaningful formal structure -– historically, scientifically, spatially, or temporally -– of a kind that the very idea of Greenwich has conventionally been seen as seeming to ratify. Both novels enlist the associations of Greenwich to engage what are finally ontological questions about the problematics of origin and identity. They foreground the inevitable flux between, on the one hand, individual or societal attempts to impose purposive form and, on the other, the undermining by contingent process of all such aspirations to coherent structure, at both national political/historical and individual psychological levels.
A few years before Martial Bourdin unwittingly provided (by apparently accidentally blowing himself up not far from the Royal Observatory) The Secret Agent's sensational core episode, Greenwich's demarcation of virtually the whole world's spatio-temporal sense of itself had received the ultimate accolade of immortalization in a music-hall song:
If you want to know the time, ask a p'liceman.
The proper Greenwich time, ask a p'liceman.
Every member of the Force
Has a watch and chain, of course.
If you want to know the time, ask a p'liceman. [12]
Music hall's fey association of temporal propriety and authority with the police force and Greenwich adumbrates whimsically the central plot preoccupations of The Secret Agent. Between them, Inspector Heat and the Assistant Commissioner effect sufficient of a triumph over the vagaries of circumstance and the corruptive powers of what in Nostromo Conrad memorably terms "material interests" to allow the Assistant Commissioner his crowing to Vladimir, the instigator of the botched outrage, that "[i]n less than twelve hours we have established the identity of a man literally blown to shreds, have found the organizer of the attempt, and have had a glimpse of the inciter behind him. And we could have gone further; only we stopped at the limits of our territory." [13]
The novel itself, of course, explodes such unearned confidence in the sanctity of territorial limits and the efficacy of attempts to police them. Instead of ratifying the Assistant Commissioner's smug faith in a containable nexus of motivation, cause, and effect, The Secret Agent makes its most memorable embodiment of form the distinctly non-territorial circles described interminably by "the innocent Stevie":
circles, circles; innumerable circles, concentric, eccentric; a coruscating whirl of circles that by their tangled multitude of repeated curves, uniformity of form, and confusion of intersecting lines suggested a rendering of cosmic chaos, the symbolism of a mad art attempting the inconceivable. (45)
"Repeated curves" and a "uniformity of form" that paradoxically suggest not the possibility of fulfilled structure but rather "confusion" and "cosmic chaos" are proleptic of the motivational tangles confusing all human action in The Secret Agent, however apparently transparently motivated. They also anticipate Stevie's own grotesquely physical transformation in Greenwich Park into the novel's ultimate expression of matter's tendency to fracture into chaos:
Another waterproof sheet was spread over that table in the manner of a tablecloth with the corners turned up over a sort of mound – a heap of rags, scorched and bloodstained, half concealing what might have been an accumulation of raw material for a cannibal feast. . . . A local constable in uniform cast a sidelong glance, and said with stolid simplicity:
"He's all there. Every bit of him. It was a job." (77-8)
The constable's pride in having effected reconstructive completion ("Look at that foot there. I picked up the legs first, one after another. He was that scattered you didn't know where to begin" [79]) by assiduous attention to spatial detail ("I sent a keeper to fetch a spade. When he heard me scraping the ground with it he leaned his forehead against a tree and was as sick as a dog" [78]) offers a parodic version of the impulse to assert formal material proprieties, even in the face of this most horrific assault on the idea of individual human identity. And to give constabulary doggedness its due, the officer's admirable application to his unpleasant task does indeed bear fruit in the discovery of the address label that restores the obliterated Stevie to posthumous identity.
Equally dogged is the Professor's desire to effect perfection of temporal form by the creation of a detonator that will eliminate the twenty-second wait between the pressing of the rubber ball that irrevocably activates the device and the explosion itself. In effect, he dreams of a detonator as precise as Greenwich's Observatory chronometer, one that "would adjust itself to all conditions of action, and even to unexpected changes of conditions. A variable and yet perfectly precise mechanism. A really intelligent detonator" (62). In a further parody of Greenwich's embodiment of absolute notions of origin in its possession of a meridian line that designates the logical fiction of the perfection of non-space and non-time -– 0 degrees of longitude, 00h 00m 00s of time –- the Professor dreams of his own version of "a clean sweep and a clear start for a new conception of life" (67). His version of sweeping the world into a tabula rasa originary state is the antithetical complement of the policeman's assiduous attempt to reconstitute Stevie, and to bring it about the professor too would be prepared to "shovel my stuff in heaps at the corners of the streets if I had enough for that; and as I haven't, I do my best by perfecting a really dependable detonator" (67).
The Secret Agent works a densely suggestive complex of variations on the paradoxical relationship between creation and destruction, between humanity's impulse to impose formal structures of meaning and its equally strong, and in the Professor's case nihilistically defiant, assertion and demonstration of their ultimate unachievability. These motifs are intermeshed with other paradoxes that figure Stevie and Winnie Verloc (who increasingly comes to resemble, both physically and in her mental confusion, the brother for whom she first sacrifices her own emotional fulfilment and then kills her own husband) as coterminously creative and destructive principles. Theirs are self-contradictory personalities, whose altruism is obsessive to the point of solipsism and whose compassion and capacity for love generate hatred and homicidal violence. When Vladimir gives as his reason for attacking science in the form of Greenwich Observatory that "[t]he whole civilized world has heard of Greenwich" (37), Conrad was selecting a location against which his exploration of the ontological base for believing in the illusoriness of all attempts to achieve clear causal, motivational and moral form would resonate most ironically. The ultimate linguistic embodiment of this inescapable existential state is the journalistic mantra attaching to Winnie Verloc's suicide – "An impenetrable mystery seems destined to hang for ever over this act of madness or despair" (246) – that haunts Ossipon as he walks the streets of London "without looking where he put his feet, feeling no fatigue, feeling nothing, seeing nothing, hearing not a sound" (249). Ossipon's complete self-reference, his former confidence in being able to marshal a highly-developed capacity for manipulative selfishness to impose his own distorted version of form on contingency, is finally brought low by this encounter with a woman whose self-contradictory life of solipsistic altruism achieves its ultimate expression in an act of self-destruction that lies beyond Ossipon's comprehension. It reduces him to a state of purely automatized movement through the streets of what has become an alien city.
The effect of Conrad's eerie anticipation in Ossipon of a state of automatized catatonia that T. S. Eliot will soon, in The Waste Land, make definitional of a cultural moment is heightened by the novel's complementary terminal focus on the equally prophetic Professor. Less than a decade before the First World War turned the will to destroy into the scientifically-enabled patriotic duty of a whole generation, the Professor summons the annihilating power of science to his cause as he too haunts the streets of London "terrible in the simplicity of his idea calling madness and despair to the regeneration of the world" (249). As suggested earlier, the very notion of regeneration –- the return to an ideal initiatory state, in the Professor's case in response to a sense that his own exceptional powers have not been recognized by an imperfect and fallen world -– is an ironic distortion of the promise of those emblems of spatial and temporal origin that Greenwich embodies. It is therefore fitting that the Professor -– ever willing, if needs must, to destroy himself in the pursuit of his delusional ends -– should be the source of the explosive that makes such a puzzling but ineffectual assault on the absolute principles of which the Professor himself is a parodic embodiment.
The self-contradictory and self-destructive impulses informing the deranged mind's commitment to some notion of regeneration are foregrounded also in Graham Swift's Waterland. So is Greenwich, which stands as both analogue and contrast to the novel's primary evocation of the East Anglian fens, that protean landscape whose complementary but contradictory principles are flatly declared in the titular neologism: water/land. An environment whose fluxes and refluxes, departures and returns, surfaces and depths reflect the matching psychological and emotional contradictions of the characters born into and shaped by them, the fens surrender much of their textual dominance to Greenwich upon Tom and Mary Crick's relocation to London after their marriage. Greenwich immediately grants the couple the surface comforts of formal structure:
They settle in Greenwich, in a suburb of London noted for its historical features: a Royal Observatory; a park where Henry VIII once wooed and hunted; a former palace; a Queen's House turned Maritime Museum; not to mention the dry-docked Cutty Sark, bowsprit permanently pointing to the Isle of Dogs….
They acquire regular habits, spiced with unspectacular variations. Sunday walks in the park (the Observatory and back). Exchanges of hospitality with his teaching colleagues and her age-care associates…. A visit, approximately every six weeks, to her father…. A slap-up meal in a restaurant every birthday and wedding anniversary. Trips to the theatre. Weekend excursions. Holidays.
… they do not lack for money, indeed are almost embarrassingly comfortable: the "enviable Greenwich home" (Regency, porticoed front door) … [14]
As a context for these private temporal demarcation lines that mark out the Cricks' unspectacular marital course, Swift elaborates further on the main spatial components of the Greenwich setting, parodying the cadences of guide-book authority and imbuing the sites described with the wider temporal range of public history:
On the top of Greenwich Hill, in Greenwich Park, stands an Observatory, founded by Charles II to search the mysteries of the stars. By the Observatory, set in the asphalt, much bestridden and photographed by visiting sightseers, a metal plate marks the line of longitude 0?. Near longitude 0?, perched on a plinth, becloaked and tricorned, stands General Wolfe, in bronze, staring to the Thames. . . . The Maritime Museum (relics of Cook and Nelson); the Naval College (painted ceiling depicting four English monarchs). . . .
From the top of Greenwich Hill it is possible not only to scan the inscrutable heavens but to peel back past panoramas (wind-jammers in the India Dock; royal barges, under Dutch-Master skies, bound for the Palace), to imagine these river approaches to London as the wild water-country they once were. Deptford, Millwall, Blackwall, Woolwich . . . And, away, out of sight to the east, the former marshes where, in 1980, they are building a flood barrier. (112).
The move from the fens to Greenwich constitutes an attempt to erect a flood barrier against Mary's post-abortion psychological turmoil. But thirty years on, this very private flood overwhelms its domestic banks, bursting forth in her return to the visionary certainty, as pure in its singularity as the Professor's pursuit of a regenerated world born of apocalypse, that God has willed her to have a child. The chapter in which Tom wrestles with Mary's annunciation of her pregnancy foregrounds ironically in its title, "Longitude 0?," the illusory certainties of spatial and temporal originary points. Tom's narrative by turns ratifies and undermines faith in such elusive principles of structure. Mary's subsequent life is indeed partially explained by the originary trauma of her teenage abortion, which, apparently left behind with adolescence, re-emerges to haunt her post-menopausal years. But equally, Mary's story originates nothing and is simply another reformulation of the series of cyclical familial and historical patterns, as inevitable as Stevie's endless circles, that embody for the individual caught up in them only the chaos of flux, while tantalisingly and destructively suggesting purposive design.
When Mary, by appropriating a baby from outside a supermarket, fulfils her sense of divinely-sanctioned generative/regenerative mission, Tom's tussle with her for possession of the child is presented specifically as a fracturing of the Regency formality of the Greenwich house:
Witness, for contrast, the fastidious surroundings which offset this central whirlwind: a room still preserving its late Regency features, tastefully furnished over a period of thirty years with items to match: old porcelain, leather bindings, Cruikshank prints. A veritable museum. Witness the Chelsea vase on the Sheraton table which, jostled by the sofa which in turn is jostled by the motions of this desperate tug-of-war, topples from its perch and disintegrates on the floor. Observe too the golden retriever, roused from its favourite napping place in a corner of the kitchen, which enters and adds the din of its barking to the racket of screams, baby-hollers and tinkling antiques. (230-1).
Thus the formalities of Greenwich again become the background to the rendering of not just Mary's individual psychological fracture but of the inevitability with which relentless and uncontainable historical processes overwhelm the structures by which human consciousness makes its fragile attempts to impose order on both inner and outer landscapes.
As suggested earlier, the Conrad of the The Secret Agent may be said to anticipate the cultural and political mood during and after the First World War in a number of ways: in his uncannily prescient evocation of automatized response, of the contradictory but complementary creative/destructive impulses in both the individual and the wider social complex, and of a scientifically-impelled apocalypse awaiting its fulfilment. Similarly, the Swift of Waterland, though in his case consciously and overtly, makes his primary twentieth-century reference points the two World Wars. The First World War provides the explanatory context for the trauma endured by Henry Crick, with his consequent failed pursuit, via amnesia, of an originary point swept clean of the memories of the Western Front. His attempt to protect Dick, his son who is not his son, from personal history by concealing the past from him is no more successful – indeed, it is ultimately disastrous and directly contributes to Dick's death. The events of their Second World War childhoods are what Tom and Mary try unsuccessfully to leave behind them by the escape to Greenwich. And the war provides the immediate cause -– two uniformed American servicemen whom Dick misidentifies as policemen coming to arrest him for the murder of Freddie Parr -– for Dick's final eel-like descent under the waters of the Ouse and the Wash. Against this context, in which private and public history are inextricably intertwined in ways that make a mockery of the formal structures by which attempts are made to understand them, for Tom and Mary their life in Greenwich cannot finally be the fulfilment of a purposive private history, analogous to the public history embodied in the Maritime Museum, the Observatory, and the Regency houses. Greenwich provides for them only an illusory fantasy of surface form through which the real and very destructive history of the twentieth century, at the chaotic meeting point of private and public experience, eventually breaks, shattering not only their antiques but the hard-won tranquillity of their marriage.
Lying behind Swift's evocation of Greenwich – with its suggestion of analogy with the fens in the viewer's ability from the top of Greenwich Hill "to imagine these river approaches to London as the wild water-country they once were" (112) – is surely Conrad's sense, articulated by Marlow in Heart of Darkness, that "this also . . . has been one of the dark places of the earth." [15] Against that other heart of darkness in the fens, the hope nursed by his mad and incestuous father, Ernest Atkinson, on behalf of the simple Dick (surely another creative/destructive avatar of Conrad's simple Stevie) that he will turn out to be "a saviour of the world" (198) is fulfillable only in the reductive terms embodied in his operation of the dredger in the months before he obeys the instinctual eel-like drive to return to a point of origin:
And who would choose dredging for their calling? Who would opt for this endless and stationary war against mud? This dredgery-drudgery, sludgery-sloggery. It would sap even the stoutest spirit. It would dull even the brightest soul.
And yet it has to be done. Because it won't go away. It gathers, congeals, no matter what's going on in the busy world above. Because silt, as we know, is the builder and destroyer of land, the usurper of rivers, the foe of drainage. There's no simple solution. We have to keep scooping, scooping up from the depths this remorseless stuff that time leaves behind. (299)
As a version of purposive endeavour, this dogged and largely unconscious assault on mud — formless matter, part water, part land, part builder, part destroyer – lacks the aspirational grandeur that defines the Greenwich of Duke Humphrey and Elizabeth, Samuel Pepys and James Wolfe, Christopher Wren and Nicholas Hawksmoor. Just as surely, the Professor's deranged impulse to call "madness and despair to the regeneration of the world" with the perfect detonator lacks the rational scientific authority of John Flamsteed and that endlessly fascinating spatio-temporal denoter of originary absolutism, the zero longitudinal meridian line. But as a summation of humanity's relationship to the inscrutabilities of both private and public historical process in the century that these two novels bracket, the Conrad-Swift version of Greenwich is perhaps the more appropriate one.
[1] William Camden, Britannia: or, A Chorographical Description of the Flourishing Kingdoms of England, Scotland, and Ireland, and the Isles Adjacent; from the Earliest Antiquity. Translated from the edition published by the author in MDCVII. Enlarged by the Latest Discoveries, by Richard Gough. Second Edition in Four Volumes (London: Stockdale, 1806), I, p. 309.
[2] Clive Aslet, The Story of Greenwich (London: Fourth Estate, 1999), p. 142.
[3] London and Its Environs Described, Vol III (London: R. and J. Dodsley, 1761), p. 69.
[4] Henry Chamberlain, A New and Compleat History and Survey of the Cities of London and Westminster (London: J. Cooke, 1771), p. 576.
[5] Modern London being the History and Present State of the British Metropolis (London: Richard Phillips, 1804), p. 169.
[6] H. J. Sarrett, New Picture of London For 1803-4, or, A Guide through this Immense Metropolis, On a Plan hitherto unattempted: containing Comprehensive Descriptions of the Publick Edifices, Collections of Curiosities, and Places of Entertainment; Interspersed with Diverting, Authentick, and Valuable Anecdotes, Many of which are Historical, and record Events which have happened Several Hundred Years Ago (London: Tegg and Castleman, 1804), p. 156.
[7] Henry Hunter, The History of London and Its Environs, Vol II (London: John Stockdale, 1811), p. 155.
[8] Charles Heath, Views of London (London: Hurst Robinson and R. Jennings, [1825]), unpaginated.
[9] As quoted in Aslet, p. 139.
[10] France held out, retaining Paris Mean Time less nine minutes and twenty-one seconds until 1978, when it adopted Universal Time. See Aslet, p. 267 and E. Walter Maunder, The Royal Observatory Greenwich: A Glance at its History and Work (London: Religious Tract Society, 1900)
[11] Aslet, p. 266.
[12] Sung by James Fawn, written (c. 1885) by E. W. Rogers and Augustus E. Durandeauby.
[13] Joseph Conrad, The Secret Agent (Harmondsworth: Penguin, 1971), pp. 185-6. Hereafter cited parenthetically.
[14] Graham Swift, Waterland (London: Heinemann, 1983), p. 106-07. Hereafter cited parenthetically.
[15] Joseph Conrad, Heart of Darkness, ed. and intr. Paul O'Prey (Harmondsworth: Penguin, 1983), p. 29.
Keith Wilson, 'Greenwich Revised : Conrad's The Secret Agent and Swift's Waterland'. Literary London: Interdisciplinary Studies in the Representation of London, Volume 5 Number 1 (March 2007). Online at http://www.literarylondon.org/london-journal/march2007/wilson.html. Accessed on [date of access].


What can I do at the Rag Factory?
When we set up the Rag Factory, we intended it simply to be an affordable place in which people could do creative things, whatever those might be. Broadly, that same principle holds true today. All we ask is that you be sensitive to other users of the space and to the local community, and not do anything illegal on site. Within the realms of common sense and courtesy, there's not a lot you can't do down here!
To the right is a non-exhaustive list of things our space is commonly used for – every time we think we've listed everything, someone comes to use the space in another way! If we've not included your activity of choice, that doesn't necessarily mean you can't do it here: just get in touch and we'll take it from there.


Looking for a decent Conquest NS Front wing.
Can any one help, or point me in the right direction ???
Have you tried Wedding Car Tim or John Nash?
Tim cant help in this case, not sure about John.
missing - probably under a layer of filler, so not good enough.
Will keep looking for something better.


We ask that to be a active member of our Task Force that you use your Social Media to send information from this web site to your Facebook, Twitter, email accounts, etc., informing all your friends and acquaintances about our Healing Pyramid Worldwide Movement to see protective pyramids constructed throughout the United States and Europe to save our earth from the devastation of hurricanes, tornadoes, and other destructive weather.
Additionally, we would ask you to download a copy of our "physical" petition and make additional copies to post in your local health food stores, gyms, workplaces, churches, social clubs, in any place you feel that will get the petition signed enthusiastically. We are one, and we love you.


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text:
Q: Calculate the order of $A(F_p)$ I am asked to calculate the cardinality of the set $A(F_p)$, which includes the matrices of the form $$\begin{pmatrix}
a&b\\
0&1
\end{pmatrix}
$$ in $GL_2(F_p)$ (p is a prime number).
My approach is to count by columns, so for the first column, I have $p-1$ choices ($p$ choices for $a$, minus the zero vector). And for the second column, I have to minus the number of vectors included in the span of the first column, which I don't know what that is (I still have $p$ choices for $b$), then finally multiply them together. I'm not sure if this is the way to count.
I would appreciate any help to find the number of vectors in the span of $\begin{pmatrix}
a\\
0
\end{pmatrix}$.

A: This is the affine group $\operatorname{Aff}(\Bbb F_p)$ of order $p(p-1)$, see
wikipedia. So the cardinality is $p(p-1)$, since $a\in \Bbb F_p^{\times}$ and $b\in \Bbb F_p$.

redpajama_set_name: RedPajamaStackExchange


Am I the only one to be irritated by the constant politically correct messages beamed to us via ads and even soapies now? I don't watch soapies; it is unbelievable boring though I admire the writers being able to stretch even a meal into something which needs two weeks of airtime to be completed. And then we have the wildly unrealistic social interaction between the characters. It may well be so in the corridors of the SABC, the State's mouthpiece, but in real life? Nah, I have some experience with media law and I can tell you, it is absolutely arranged beforehand. Nothing you see on television or at the movies or hear on the radio or read in newspapers including magazines is by chance. There is always an agenda.
Years ago I had a client, an African American, who I respected a lot then and now. He was a man of exceptional talents. The pro-forma Ivy League MBA degree, the time he spend at Jimmy Carter's Whitehouse as a young man and at that stage, heading a fairly large advertising company in Africa. He did not last long, he was soon disillusioned and that is how he met with me - to represent him for a severance package. That is just boring legal stuff but he made a comment which I remembered yesterday when I saw my mom's Afrikaans Magazines. She buys them every week out of loyalty and no other reason. Anyone with two brain cells will tell you it is almost not worth reading and has nothing of yesteryear's good journalism in it.
There was a time when these magazines had an uplifting function which was practical, had decent stories and was about the Afrikaner. I know this because I collect old magazines and read them. Today, well I don't read them anymore, except for a few glances when extremely bored or on the toilet with nothing else available. They are all about the skindernuus (gossip) from Hollywood and the latest scandals in court. Now I am sorry, but who cares what a bunch of overpaid long haired liberals and drug addicts in a different country have to say? Do I really need to know who is doing who and who is in which rehab center or who made what politically correct movie? Will my life come to an end if I do not read nor care what Oscar Pistorius's dad or whoever else has to say about a very tedious criminal trial which is far from over? I should hope not. Even though the legal profession is full of exceptionally boring people it would be very bad to admit to be one of them. After all, my motto is "Who wants a boring life?"
To get back to my American client, he pointed out that all television comedy shows, for instance Bill Cosby (my favorite back in the day) have the same theme. You have the main characters who are usually successful - see The Cosby Show & the Fresh Prince of Bel-Air etc as examples. They live in an unmarked house and have a nice family, yes a bit weird at times, but all for one at the end of the day. They are surrounded by the good things of life, fancy furniture, and a nice lifestyle and why is all this portrayed by the actors? What is the hidden message?
He said it was nothing but social engineering. That is what it is; they are trying to show the impressionable and underachieving young that Utopia is achievable. Look at the big house, see the nice cars and note now, mommy and daddy are still married and if sussie (little sister) has a baby out of wedlock they would not condemn her but take her in and love them both (Last Man Standing). Obviously you would be a bit moronic to disagree with the principle behind this for it has good intentions. It wants to create a better life and shows that with hard work (the characters all went to university / college and are professionals, doctors, judges, and marketing directors) then you will have the good life. And stay married to the same girl and have a whole bunch of kids (they all have larger families than the statistical correct 2.5 children). Of course, statistics will tell you that a university degree is no guarantee for anything in life. It is who you know.
The same thing is happening with websites pretending to be news sites on the internet. You have your liberal ones, I read them, and they are quite humorous. And the right-wing ones, I read them, and they are quite humorous. Before that website is up and running the ones behind them have already decided who their target market is and how to keep them happy. There is always an agenda and the poor journalist is expected to write his stories in that vein. It is really not difficult to do so and even a moderately sober journalist would be able to do so in his sleep.
From my knowledge on the media contracts behind these soaps and everything else you see and read, I know nothing is just perchance. That brand of beer you see them drinking on the show? Yes, it is paying to be on the show - note how the actor carefully puts it down for you to read the logo. See how they flash a scene at his wrist watch? It is not done to see the time but to advertise it. The name of the game is money and money comes from advertising only when on television. The subscription fees are almost inconsequential when considering the advertising billions. That is where they make the most money. Fair enough, we get that - it is a good business model.
In South Africa this is taken much further. If you talk to any producer alone, he will tell you, when you deal with the SABC and others, you will be told what color the main character will be. How many white faces there may be and at what level (the stupid blonde receptionist, the failed white man who is now the middle manager) and, of course, interracial relationships between them would be appreciated. I can go on and on and on about such examples. No matter that it resembles almost nothing in the real world. That is what they want to see and so it is.
The same with the printed or televised advertisements, you see this totally ridiculous view of life as if that is going to make you buy that product. Not that I can say much about it, I have, for two decades now, got into the good habit of turning the sound off whenever an advertisement flashes up. If I cannot figure out what it is without sound, it is a bad add. But then that is me, I am eccentric. In the US a company developed a device which will automatically cut out the ads and got sued for "changing the broadcast" - they lost and hence the device, it is just programming, is lost forever and we forced to watch this great social engineering experiment. Even most articles in those Afrikaans magazines I mentioned, is nothing but disguised advertisements and not even done properly for I could spot them.
I also wonder why the fuss? Did I not write that love is blind? That it does not matter if your soul happens to be of color or Chinese, you will find each other and be happy. Do we need to see these forced relationships every night on our televisions as if we are too stupid to figure out what is happening behind the scenes? Do we need to read the same nonsense in our magazines?


text:
Needles and Pins (deutsch: Nadeln und Stifte) ist ein Beatsong, der den amerikanischen Songschreibern Jack Nitzsche und Sonny Bono zugeschrieben wird. Jackie DeShannon nahm ihn 1963 auf, und eine bekannte Version folgte 1964 von The Searchers.

Weitere Versionen stammen von Smokie (1977), den Ramones (1978), Del Shannon, Gene Clark und Tom Petty & the Heartbreakers mit Stevie Nicks (1985).

Liedtext
Needles and Pins bedeutet sinngemäß übersetzt "wie auf Nadeln" oder "auf glühenden Kohlen"; so fühlt sich der Erzähler im Liedtext, nachdem er ein Mädchen gesehen hat. In seiner Autobiografie gibt Sonny Bono an, dass er zu der Gitarre von Jack Nitzsche sang und so die Melodie und den Text schuf.

Jackie DeShannon-Version (1963)
Jackie DeShannon war die erste, die das Lied aufnahm; in den USA erreichte es im Mai 1963 Platz 84 der Billboard Hot 100 Singles. Obwohl es nur ein kleiner US-Hit war, erreichte DeShannons Aufnahme des Songs die Spitze der kanadischen Charts und landete 1963 auf Platz 1 der CHUM-Charts.

Version von The Searchers (1964)

The Searchers veröffentlichten im Januar 1964 die bekannteste Version des Liedes als Single. Sie gelangte im Vereinigten Königreich, in Irland und Südafrika auf Platz eins und in den Vereinigten Staaten auf Platz 13 der Billboard Hot 100 Singles. Bald darauf, im April 1964, erschien Needles and Pins auf dem nächsten Album It's the Searchers.

The Searchers nahmen auch die deutsche Version Tausend Nadelstiche auf.

Ein Teil dieser Version ist als Intro des Songs Use the Man auf dem Album Cryptic Writings der Metal-Band Megadeth zu hören (nicht jedoch in der remasterten Version).

Weblinks

 Needles and Pins mit The Searchers auf YouTube

Einzelnachweise

Lied 1963
Popsong
Nummer-eins-Hit

redpajama_set_name: RedPajamaWikipedia


STUDENT 5 BED RENTAL FOR 2019/2020 ACADEMIC YEAR.
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Handy for local shops including take away's. Newsagents. Convenience Store. Co-Operative Store.
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Switchback Stairs from Entrance Hall with White Bannister. White Walls. Brown Striped Carpet. Loft Access. Radiator. Pendent Light Fitting. Smoke Alarm. Mirror. Leading to 4x Bedrooms.
White UPVC Double Glazed Window to Rear Aspect, with Trickle Vent and Black Curtains. White Walls. Brown Carpet Flooring. Black Double Bed. Glass Fronted Wardrobe. 2 x Black Bedside Tables. Black Wood Drawer Unit, and horizontal Shelf Unit. Brown Wooden Desk. Mirror. Radiator. Pendent Light Fitting.
White UPVC Double Glazed Window to Front Aspect with Grey Curtains. White Walls with Picture Rail. Brown Carpet Flooring. Double Black Bed. Black drawer Unit. Single Black Desk with Chair. Cupboard Housing Hanging Rail. Mirror. Radiator. TV Point. Pendent Light Fitment.
North West Facing. Fully Enclosed with Fencing and Side Gate to Front. Laid to Paving and Stone over 3 Levels, some Bushes. Shed. Outside Tap. Washing Line. Housing Meter Boxes. Outside Table with 6 Chairs.
Fully Enclosed with Gate at Front and Pathway to Front Door. Laid to Stone with some Bushes. Outside Light. 2 x Hanging Basket Brackets.


With summer in full swing, I'm actually having a bit of a social life. However, I did manage to do the write-up for my Minnesota trip. SCamerOTT's reception and day three of last year's Comic Con are more and more likely to happen. Note the word "likely" was used and not the word "certain."


By expressing these inner feelings you are able to overcome the pain and sorrow that are binding you. Sad songs are the best platform that helps us immensely in lifting our mood and forgetting our sorrows. The sad songs will touch your inner soul for they are full of emotions to carry you deep within your …... How to Hide Your Feelings. 17 likes. Song Sign up for Facebook today to discover local businesses near you.
Lyrics to 'Let Your Feelings Show' by Earth Wind & Fire. how to join multiple pdfs into one It's important to remember that your feelings are valid – always – because you can't help them. You can't help the way that you feel, and so your feelings are never inherently wrong or bad. We can commit acts that are wrong or bad based on our feelings , but those aren't the same two things.
Scared – hide your face. Here is a printable with the prompts to help you out until you have it memorized. It's also great for when you have a substitute teacher.
Rather than hiding your true feelings, I suggest you learn the skill of tact. Tact is when you tell the truth, but you do so in a way that helps avoid conflict and resolve the issue. Tactful people are able to explain exactly how they feel without upsetting anyone.
A little more loose of a parody, but if you know the screencap that inspired this... well, you know the screencap that inspired this. All of these memey things were drawn over a long period of time, and you may recognize a few from tumblr.
Lyrics to 'Let Your Feelings Show' by Earth Wind & Fire.
16/06/2017 · Don't Cry Out Loud – learn how to hide your feelings June 16, 2017 kylieguthrig Leave a comment "There's no need to get emotional" and "Crying won't solve anything" are both things that have been said to me on various occasions, almost as if "being emotional" is a crime, but, what's so criminal about being emotional?


Kentucky Wildcats basketball elicits an upwelling of pride and delight in its numerous fans across the world. Cats fans look forward to basketball season the same way children anticipate Santa's visit at Christmas. There is a reason for the phrase "true blue" and the Wildcat fan embodies this idea, and more. After all, we do have the winningest team in the history of college basketball. Our pride is well founded! We represent a tradition of excellence punctuated by 8 NCAA titles. We crush our fiercest rival, the University of Louisville, with a winning record of 35-16. "Game Over" by Kentucky artist Rex Robinson is a stunning representation of Wildcat superiority via acrylic on canvas. The Cat Bird Society is now offering a limited edition giclee print of this striking masterpiece. Ownership of this remarkable piece includes pre-emptive rights to the second and final painting of the series entitled "Death of a Devil." Want to guess the color of the devil?
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text:
department of natural resources and environmental control
Division of Fish and Wildlife
Statutory Authority: 7 Delaware Code, Section 903(e)(2)(a) (7 Del.C. §903(e)(2)(a))
7 DE Admin. Code 3511
Secretary's Order No.: 2010-F-0013
3511 Summer Flounder Size Limits; Possession Limit; Seasons
Date of Issuance: April 15, 2010
Effective Date of the Amendment: May 11, 2010
Under the authority vested in the Secretary of the Department of Natural Resources and Environmental Control ("Department" or "DNREC") the following findings, reasons and conclusions are entered as an Order of the Secretary in the above-referenced rulemaking proceeding.
Background and Procedural History
This Order considers proposed regulatory amendments to Delaware Tidal Finfish Regulation No. 3511 regarding Summer Flounder. The Department's Division of Fish and Wildlife commenced the regulatory development process with Start Action Notice 2010-01. The Department published the proposed amendments in the March 1, 2010 Delaware Register of Regulations and held a public hearing on March 23, 2010. The Department's presiding hearing officer, Lisa A. Vest, prepared a Hearing Officer's Report dated April 6, 2010 (Report). The Report recommends certain findings and the adoption of the proposed new regulation as attached to the Report as Appendix A.
I find that the proposed new regulation is well-supported by the record developed by the Department, and adopt the Report to the extent it is consistent with this Order. The Department's experts in the Division of Fish and Wildlife developed the record and drafted the proposed regulation. As a result of the regulatory development process, the Department received public comments supporting this proposed regulation, as discussed in the Report.
With the adoption of these regulatory amendments to Delaware Tidal Finfish Regulation No. 3511 as final, Delaware will be able to remain in compliance with the federal guidelines for the management of summer flounder, as set forth jointly by both the ASMFC and NOAA, to wit: (1) establish the size limit at 18.5 inches; (2) establish the creel limit at four (i.e., four fish per day); and (3) establish an eighty-day closure of the 2010 season from October 13th through December 31st. This management plan sets the minimum size limit at 18.5 inches, which is the more preferable size limit for this species (given the higher hook-related discard mortality associated with larger size limits for summer flounder). Additionally, the incorporation of a relatively short closed season within this management plan may help to instill and strengthen fishing ethics here in Delaware by encouraging/teaching the next generation of anglers to practice "catch and release" and promote the practice of "letting the big ones go every once and awhile", thereby helping to fortify and rebuild the State's summer flounder stock.
In conclusion, the following findings and conclusions are entered:
1.) The Department has jurisdiction under its statutory authority to issue an Order adopting these proposed Amendments as final;
2.) The Department provided adequate public notice of the proposed regulatory amendments to this regulation, and provided the public with an adequate opportunity to comment on the proposed amendments, including at a public hearing;
3.) The Department held a public hearing on the proposed amendments to this regulation in order to consider public comments before making any final decision, and has considered all relevant and timely public comment received;
4) The Department's Hearing Officer's Report, including its recommended record and the recommended amendments to this regulation, as set forth in Appendix A, are adopted to provide additional reasons and findings for this Order;
5.) The recommended amendments to this regulation (as revised to reflect the 18.5" minimum size limit, 4 fish per day, and 80-day closure from October 13th through December 31st) satisfy the aforementioned federal mandates with regard to Delaware's management of summer flounder, and do not result in any substantive change from the proposed amendments as originally published in the March 1, 2010, Delaware Register of Regulations;
6.) The recommended amendments should be adopted as final because Delaware will be enabled to remain in compliance with the federal guidelines for the management of summer flounder, as set forth jointly by both the ASMFC and NOAA, to wit: (1) establish the size limit at 18.5 inches; (2) establish the creel limit at four (i.e., four fish per day); and establish an eighty-day closure of the 2010 season from October 13th through December 31st. This management option will not deprive fishermen of the enjoyment of summer flounder during the typical peak of the season, nor will it cause Delaware to suffer a marked decrease in tourism, as a result of the 80-day closure occurring from October 13th through December 31st. Moreover, this management option will help to fortify and rebuild the summer flounder stock while simultaneously helping to encourage and teach sound fishing ethics to the next generation of anglers in Delaware.
7.) The Department shall submit this Order approving the final amendments to this regulation to the Delaware Register of Regulations for publication in its next available issue, and provide such other notice as the law and regulation require and the Department determines is appropriate.
Collin P. O'Mara, Secretary
3500 Tidal Finfish
3511 Summer Flounder Size Limits; Possession Limits
(Penalty Section 7 Del.C. §936(b)(2))
1.0 It shall be unlawful for any recreational fisherman to have in possession more than [four (4) four (4)] summer flounder at or between the place where said summer flounder were caught and said recreational fisherman's personal abode or temporary or transient place of lodging. [(Note: creel limit to be determined in combination with size limit and season.)]
2.0 It shall be unlawful for any person, other than qualified persons as set forth in section 4.0 of this regulation, to possess any summer flounder that measure less than [eighteen and one half (18.5) eighteen and one half (18 1/2)] inches between the tip of the snout and the furthest tip of the tail. [(Note: creel limit to be determined in combination with size limit and season.)]
3.0 It shall be unlawful for any person while on board a vessel, to have in possession any part of a summer flounder that measures less than [eighteen and one half (18.5) eighteen and one half (18 1/2)] inches between said part's two most distant points unless said person also has in possession the head, backbone and tail intact from which said part was removed. [(Note: creel limit to be determined in combination with size limit and season.)]
4.0 Notwithstanding the size limits and possession limits in this regulation, a person may possess a summer flounder that measures no less than fourteen (14) inches between the tip of the snout and the furthest tip of the tail and a quantity of summer flounder in excess of the possession limit set forth in this regulation, provided said person has one of the following:
4.1 A valid bill-of-sale or receipt indicating the date said summer flounder were received, the amount of said summer flounder received and the name, address and signature of the person who had landed said summer flounder;
4.2 A receipt from a licensed or permitted fish dealer who obtained said summer flounder; or
4.3 A bill of lading while transporting fresh or frozen summer flounder.
4.4 A valid commercial food fishing license and a food fishing equipment permit for gill nets.
5.0 It shall be unlawful for any commercial finfisherman to sell, trade and or barter or attempt to sell, trade and or barter any summer flounder or part thereof that is landed in this State by said commercial fisherman after a date when the de minimis amount of commercial landings of summer flounder is determined to have been landed in this State by the Department. The de minimis amount of summer flounder shall be 0.1% of the coast wide commercial quota as set forth in the Summer Flounder Fishery Management Plan approved by the Atlantic States Marine Fisheries Commission.
6.0 It shall be unlawful for any vessel to land more than 200 pounds of summer flounder in any one day in this State.
7.0 It shall be unlawful for any person, who has been issued a commercial food fishing license and fishes for summer flounder with any food fishing equipment other than a gill net, to have in possession more than [four (4) four (4)] summer flounder at or between the place where said summer flounder were caught and said person's personal abode or temporary or transient place of lodging. [(Note: creel limit to be determined in combination with size limit and season.)
8.0 Notwithstanding section 4.0 of this regulation, it shall be unlawful for any recreational or commercial hook and line fisherman to take and reduce to possession or to land any summer flounder during the closed season beginning 12:01 a.m. October 13 and ending 12:00 p.m. December 31 next ensuing.
Note: Proposed options for creel limits and minimum size limits and seasons to restrict the recreational summer flounder harvest in Delaware during 2010.]
Season Closure
Number of Open Days
Minimum Size-inches
Oct 13 - Dec 31
5 DE Reg. 462 (08/01/01)

redpajama_set_name: RedPajamaCommonCrawl


text:
International Journal of Communications, Network and System Sciences > Vol.5 No.11, November 2012
Global Electronic Dominance with Spatial Grasp ()
Peter Simon Sapaty
Institute of Mathematical Machines and Systems, National Academy of Sciences, Kiev, Ukraine.
DOI: 10.4236/ijcns.2012.511076 PDF HTML XML 4,309 Downloads 6,105 Views Citations
A high-level control technology will be revealed that can dynamically establish overwhelming dominance over distributed networked systems with embedded electronic devices and any communications between them. It is based on implanting of universal control modules (that may be concealed) into key system points which collectively interpret complex but compact mission scenarios in a special high-level Distributed Scenario language (DSL). Self-evolving and self-spreading in networks, matching them in a super-virus mode, DSL scenarios can analyze their structures and states and set up any behavior needed, including creation of benign or elimination of unwanted infrastructures. The scalable technology allows us to convert any distributed networked systems into a sort of integral spatial brain capable of analyzing and withstanding unpredictable situations in a variety of important domains.
Electronic Dominance; Distributed Dynamic Worlds; Asymmetric Situations and Threats; Spatial Grasp Technology; Distributed Scenario Language; Parallel Networked Interpretation; Global Awareness; Multi-Robot Systems
P. Simon Sapaty, "Global Electronic Dominance with Spatial Grasp," International Journal of Communications, Network and System Sciences, Vol. 5 No. 11, 2012, pp. 724-735. doi: 10.4236/ijcns.2012.511076.
[1] P. S. Sapaty, "Over-Operability in Distributed Simulation and Control," The MSIAC's M&S Journal Online, Vol. 4, No. 2, 2002, 8 p.
[2] P. Sapaty, "The Over-Operability Organization of Distributed Dynamic Systems for Asymmetric Operations," Proceedings of IMA Conference on Mathematics in Defence, Farnborough, 19 November 2009.
[3] M. Wertheimer, "Gestalt Theory," Erlangen, Berlin, 1925.
[4] P. Sapaty, "Gestalt-Based Ideology and Technology for Spatial Control of Distributed Dynamic Systems," International Gestalt Theory Congress, 16th Scientific Convention of the GTA, University of Osnabrück, Osnabrück, 26-29 March 2009.
[5] P. Sapaty, "Gestalt-Based Integrity of Distributed Networked Systems," SPIE Europe Security + Defence, bcc Berliner Congress Centre, Berlin, 2009.
[6] P. Sapaty, "Grasping the Whole by Spatial Intelligence: A Higher Level for Distributed Avionics," Military Avionics, London, 30 January-1 February 2008.
[7] M. Minsky, "The Society of Mind," Simon and Schuster, New York, 1988.
[8] P. S. Sapaty, "Distributed Air & Missile Defense with Spatial Grasp Technology," Intelligent Control and Automation, Vol. 3, No. 2, 2012, pp. 117-131. doi:10.4236/ica.2012.32014
[9] P. S. Sapaty, "Withstanding Asymmetric Situations in Distributed Dynamic Worlds," Proceedings of 17th International Symposium on Artificial Life and Robotics, Oita, 19-21 January 2012.
[10] P. S. Sapaty, "Meeting the World Challenges with Advanced System Organizations," Informatics in Control Automation and Robotics, Lecture Notes in Electrical Engineering, 1st Edition, Vol. 85, Springer, Berlin, 2011. doi:10.1007/978-3-642-19730-7_3
[11] P. S. Sapaty, "Distributed Technology for Global Dominance," In: R. Suresh, Ed., Defense Transformation and Net-Centric Systems, Proceedings of SPIE, Vol. 6981, 2008, 69810T. doi:10.1117/12.769162
[12] P. S. Sapaty, "Ruling Distributed Dynamic Worlds," John Wiley & Sons, New York, 2005. doi:10.1002/0471656356
[13] P. S. Sapaty, "Mobile Processing in Distributed and Open Environments," John Wiley & Sons, New York, 1999.
[14] P. Sapaty, "A Distributed Processing System," European Patent No. 0389655, Publ. 10.11.93, European Patent Office, 1993.
[15] U. Schade and M. R Hieb, "Formalizing Battle Management Language: A Grammar for Specifying Orders," Spring Simulation Interoperability Workshop, Huntsville, 2-7 April 2006, Paper 06S-SIW-068.
[16] U. Schade, M. R. Hieb, M. Frey and K. Rein, "Command and Control Lexical Grammar (C2LG) Specification," FKIE Technical Report ITF/2010/02, 2010.
[17] P. S. Sapaty, M. J. Corbin and S. Seidensticker, "Mobile Intelligence in Distributed Simulations," Proceedings of 14th Workshop on Standards for the Interoperability of Distributed Simulations, IST UCF, Orlando, 11-15 March 1995.
[18] P. Sapaty, V. Klimenko and M. Sugisaka, "Dynamic Air Traffic Management Using Distributed Brain Concept," Proceedings of 9th International Symposium on Artificial Life and Robotics, Beppu, 28-30 January 2004.
[19] P. Sapaty and M. Sugisaka, "Optimized Space Search by Distributed Robotic Teams," Proceedings of World Symposium Unmanned Systems, Baltimore Convention Center, Baltimore, 15-17 July 2003.
[20] P. Sapaty, M. Sugisaka, J. Delgado-Frias, J. Filipe and N. Mirenkov, "Intelligent Management of Distributed Dynamic Sensor Networks," Artificial Life and Robotics, Vol. 12, No. 1-2, 2008, pp. 1614-7456. doi:10.1007/s10015-007-0446-8
[21] P. Sapaty, A. Morozov, R. Finkelstein, M. Sugisaka and D. Lambert, "A New Concept of Flexible Organization for Distributed Robotized Systems," Proceedings of 12th International Symposium on Artificial Life and Robotics, Beppu, 25-27 January 2007.
[22] P. Sapaty and M. Sugisaka, "Countering Asymmetric Situations with Distributed Artificial Life and Robotics Approach," Proceedings of 15th International Symposium on Artificial Life and Robotics, B-Con Plaza, Oita, 5-7 February 2010.
[23] P. Sapaty, K.-D. Kuhnert, M. Sugisaka and R. Finkelstein, "Developing High-Level Management Facilities for Distributed Unmanned Systems," Proceedings of 14th International Symposium on Artificial Life and Robotics, Beppu, 5-7 February 2009.
[24] P. Sapaty, M. Sugisaka, R. Finkelstein, J. Delgado-Frias and N. Mirenkov, "Advanced IT Support of Crisis Relief Missions," Journal of Emergency Management, Vol. 4, No. 4, 2006, pp. 29-36.
[25] P. Sapaty, A. Morozov and M. Sugisaka, "DEW in a Network Enabled Environment," Proceedings of International Conference Directed Energy Weapons, London, 28 February-1 March 2007.
IJCNS Subscription


How To Make A Photo Collage On Facebook: makes it very easy to create awesome looking collections with your Facebook pictures. Conversely, you can produce your cover image utilizing the account pictures of your friends, or the pages you like, however things that-- they have sufficient self promo by themselves web page.
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Picture Scatter makes use of the 'freemium' model, distributing the collage production tool totally free as well as offering a $1.50 USD costs solution to include filters as well as remove the Pic Scatter watermark.
Photo Scatter was extremely easy to use. To alter the pictures that show up in each square, you simple click the picture and it will certainly rotate to a new image. There is a title choice, however I could not think of anything witty adequate to require having it. The generators is truly easy to use as well as supplies creative thinking through the option of pictures. From exactly what I can tell, you could just select one album to choose from photos from. It would certainly behave to be able to choose photos from several cds on your Facebook profile.
Hat tip to Aaron Rutley for letting me understand about Pic Scatter!


We found Steve Aoki on a work scavenger hunt. He wasn't on the list and I got a little overly excited about the find!
i loved when his ears were halfway between floppy and pointy.
Just me and my dog, Bastian... but dang does he make me smile.
He was really tired this day.
[specific] hoping somebody might be able to remove the fence!
When you're already fckd up, and then you're like, but is that Bane and Batman... dancing together?
[Specific] Could you just take the rubberband off my hand please? Any other improvements welcome.
[Specific] From a friends bridal shower, I'd like to give her this photo back as a gift but without the yard box, table in the background, and shadows across her face. Thank you!
We will miss you Turner Field.


click on image to enlargeGeneral Motors confirmed today it will be unveiling the 2008 Chevy Malibu at the 2007 North American International Auto Show in Detroit come January. In order to keep us interested, the General also released an official shot of the Malibu's interior, said to be dressed in one of the car's available two-tone color combinations. In fact, Ed Peper, Chevy's General Manager, says in the press release that the Malibu, "will offer a number of striking and progressive interiors." That certainly sounds like Chevy may be offering more than one interior for the Malibu cheap louis vuitton handbags, much like with the new Chevy Silverado that offers two totally different interiors, one in which luxury is paramount and another for the worker bee. That speculation aside, the interior we see here features a dual cockpit design very reminiscent of the last generation Mustang's interior with two sweeping archs that define the driver and passenger space. We dig the rawhide red leather (check it out on the shifter) and matching dash panels louis vuitton handbags, though one can never tell from a photo whether or not those large swaths of plastic feel rental car chintzy. The center stack features the new GM switchgear we've tested and liked in other cars, though the gauge pod buried within three deep cylinders looks like the similar kind used by Nissan of which we aren't so fond. All in all, however, color us impressed and now very anxious to see the whole car at the Detroit auto show in early January.Check out the full press release offered by GM after the jump.[Source: General Motors]PRESS RELEASE:Chevrolet to unveil all-new 2008 Malibu in JanuaryDETROIT, Mich. – Chevrolet confirmed today that the all-new 2008 Malibu will be unveiled in January at the North American International Auto Show in Detroit and released a sneak peek of one of the car's available two-tone interiors ray ban sunglasses cheap, which demonstrates a new level of refinement in the extremely competitive mid-size car segment."The next-generation Chevrolet Malibu's interior showcases the precision and detailed execution that will differentiate it among the mid-size car segment," said Ed Peper, Chevrolet General Manager. "The 2008 Chevy Malibu will offer a number of striking and progressive interiors that use premium materials to demonstrate quality and value not seen before in this segment."In the sneak peek photograph, the roomier Malibu cabin showcases Chevy's classic dual cockpit design.The new Malibu builds on the success of its current model, which garnered many awards such as the 2005 J.D. Power Initial Quality Award and the 2006 Insurance Institute for Highway Safety "Top Safety Picks" silver medal.


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Devs aiming for a "Dark Souls Heist" game with Payday 2
– July 16, 2013Posted in: Featured Articles, News, PC, Playstation 3, Xbox 360
Speaking to Polygon, Payday 2 director David Goldfarb explained that the aim was to feature more role-playing elements in this sequel, and he explained that the game draws inspiration from Dark Souls.
Goldfarb joined Overkill from DICE and convinced the studio, who had already started working on Payday 2, that it should make a kind of "Dark Souls heist game."
He envisioned a game with RPG elements to offer a somewhat personalized experience, a game where a player will almost expect and be okay with failing in missions.
"The exciting thing about heist games is the potential for failure," Goldfarb told Polygon.
"When we started working on this we asked, how do we achieve that fantasy of robbing a bank in a perfect way without killing everybody? How do we make it feel like failure is OK and rewarding, like in Dark Souls?
"Having watched the development of this game, I think people have the most fun when they're failing, which is weird and transgressive for a game. In most games, you want to succeed, but for us, failing in interesting ways is the fun part."
Goldfarb reiterated that players are "probably going to fail," but in doing so, players will realize that they could have done things differently in order to succeed.
"If you play, you're probably going to fail, but you're also probably going to think, 'Oh, maybe if I'd done this insteadlso probably going to think, 'Oh, maybe if I'd done this instead, or if I'd done something else.' I think a lot of games have conditioned people to feel bad about failing. Well, robbing a bank is hard! So the achievement and thrill of pulling it off is what we were shooting for," he explained.
Dark Souls 2 will allow more "freedom of exploration" than predecessor Dark Souls | 'All Saints Day' Trailer Dark Souls | New action RPG "set in a rich, dark fantasy universe" PAYDAY The Heist Now Available for PC
Tags: Payday: The Heist


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Priyanka Sharma won the title Miss Uttar Pradesh 2021
English Lifestyle
The Miss Uttar Pradesh event was held on 24 January 2021 at Bedi Dreamland Resort, Ayodhya.
Maheshpur, Uttar Pradesh [India] : The event had three days of a grooming session. There were four rounds in the show; the rounds consisted of talent, culture, fitness, and grooming. There were a total of 60 participants from all over India in the pageant. The respective event was organized by the SA group and AMF. The show was judged by SAGAR ANAND (MTV love school winner), GUDDU RUPANI (Fashion Entrepreneur), and SHYANA SHANKARA (Miss United Nation 2018).
Fashion Choreographer Mayur Da, being in this profession for the last 08 years, was impressed by Priyanka's Walk.
Priyanka Gautam Sharma is not only Miss UP, but also the gold medallist at the national level in karate, furthermore, she had a black belt 3rd Da. Priyanka belongs to the small town of Gandhidham. She was born on, 12 April 1996, however, She was born with a dark complexion and due to this was bullied, still kept her beautiful smile on her face, And embraced her skin shade proudly due to her optimistic persona, she was entitled next Miss UP 2021…She has been capturing landmarks with dazzling speed, moving with a defined tendency, for her long term goal is to become a motivation to all girls. At present, She is working as a yoga trainer, and is also
indulged in social work, and supporting women's empowerment. In her recreation time, she likes to dance, do some exercise and help out others. Further, She told us about her success story and achievements, She stated that whatever she had accomplished is due to her parents and is proud to say that she is the daughter of GAUTAM SHARMA & REKHA SHARMA…At present, Her future goal is to compete in the international pageant.
Priyanka was glad to be part of such a promising auspicious event. She Is thankful to her guru Guddu rupani who always motivates her and trained her so well in the manner of walk , discipline and etiquette etc etc all the single details .Special thanks to Mr shaeb Alam main organiser of this show who is the international designer and awardee winner and Rahul sunny Yadav ( businessman) who support in her journey. Furthermore, She was grateful to the judges and the audience for excavating her true self. Besides that she also learned a lot from the event, especially the grooming round which polished her abilities and talent.
This is a memorable lifetime achievement for Priyanka Gautam Sharma and we are waiting for more of her success.
Happy Birthday Taushif Patel: Author & Co-founder of notable digital news portal Times Applaud & Target Media turns 41
November 19: Making a name in this highly competitive media industry is arduous, but with a proactive approach and hands-on leadership skills, nothing is impossible. Noted media professional and businessman Taushif Patel is one example. In 2020, he was bestowed with a Certificate of Appreciation for his remarkable role as a Trendsetter during the Mumbai […]
Coming soon: 'One of a Kind' StandUp Comedian who has got something mysterious for you to find out
August 12: This upcoming pitara of comic talent is surely quite unique of a person who you definitely shouldn't miss out on. Had dreamt to be a cop someday but went on to be a part of the comedy police, this man surely knows how to twist your funny bones in the right way. Witness […]
Pradeep Kuwar: Pandemic birthday made me realise the importance of close friends
Mumbai: Television actor Pradeep Kuwar aka Pratham, who is known for his shows like 'Siya Ke Ram', 'Mahakaali- Ant hi Aarambh hai', and 'Guddan Tumse Na Ho Payega', recently celebrated his birthday. Even though it was a low-key affair, he says it was one of the best because his close friends were with him. The […]


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What would the earth look like if 50 percent was reserved for nature?
Emily Folk
| 3rd April 2018
Robin in snow
Humans have been growing exponentially in population, taking up space that would otherwise have been inhabited by wildlife. The amount of land untouched by humans has decreased. EO Wilson proposed a concept where half of the earth is set aside as a nature reserve. This could be the answer to many problems, argues EMILY FOLK
The genetic bottleneck of isolation will no longer be set in stone: species can travel from one preserve to the next and cross-breed as they do.
Something bad is coming our way. Though various theories are floating around, one thing is frighteningly clear: human actions are having profound and unpredictable effects on the rest of the world.
As climates warm, as ocean circulation grinds to a halt and as the atmospheric composition slowly shifts, things are going to get pretty weird.
Some of the most dramatic predictions evoke a future that is downright apocalyptic — a worldwide extinction event similar to the Cretaceous meteorite.
Vulnerable areas
While we can't be sure this is the future we have built for ourselves, well-documented instances of human meddling in the natural realm can be seen every day.
One of the easiest statistics we can use to track this influence is the rate at which species are going extinct. While some activities — poaching or property development, for instance — have always contributed to the untimely demise of endangered species, widespread climate change is increasing this rate with distressing speed.
Some believe it is only so long until a truly integral pillar of the natural environment joins the list of lost species, unbalancing the natural harmony of entire ecosystems around the globe.
Efforts on the part of national governments and third-party organisations to prevent this catastrophe have resulted in increased natural preserves around the world, particularly in vulnerable areas. But it might not be enough.
For decades, conservationists have argued that a significantly larger percentage of the earth must be set aside for the preservation of nature.
Remaining prey
EO Wilson's book, Half Earth, outlines this belief. Wilson, a biologist out of Harvard, maintains that the current conservation efforts must be dramatically expanded for the species of earth to stand a fighting chance.
While the scattering of nature preserves around the globe are certainly in the right spirit, they also cause some problems for the animals within.
The largest set of issues stem from the isolation of the species within the preserves. Within these contained — often fenced against poachers or other human contact — zones, conservationists are tasked with recreating entire ecosystems, which is nearly impossible.
For instance, natural predators are more easily able to corner their prey with the restrictions of space within nature preserves, resulting in plummeting numbers of natural prey and an abundance of predators.
This, of course, causes troubling population swings as the predators begin competing for the few remaining prey, and ultimately causes a reduction in all species — the direct opposite effect hoped to be achieved by the nature preserve.
Ambitious plan
Genetic isolation is another, somewhat more insidious effect on species contained within nature preserves. Normally, when animals are free in the wild, they have the opportunity to travel and cross-breed with other compatible species in different areas of the world.
When contained within the boundaries of a nature conservancy, species cannot move to new areas, and their genetic diversity suffers as a result. With lower genetic diversity, a population risks disease-related extinction or being unable to adapt to certain changes in the environment.
Both of these issues can result in hugely troubling long-term ramifications for species relegated to the preserves. Fundamentally, when a species adapts to a specific, limited environment, reintroduction to the outside world can be a harsh ride.
Even beyond the problems associated with the reserves themselves, reintroduction could just as quickly result in the total extinction of several species as they are exposed to new predators, new diseases, and new environments while genetically stagnating in a smaller, isolated area.
To remedy this, EO Wilson and other conservationists have outlined an ambitious plan of action: set aside half the world for preservation purposes.
Wardens and observers
While the call to action has been ridiculed and questioned by critics and conservationists alike, it also presents the most viable option for fixing the problems outlined above.
Beyond just expanding the natural boundaries of the existing nature preserves, the plan also provides for extended corridors of protected land which will allow vulnerable species to travel from one area to another.
This project will reduce most of the significant factors impacting wildlife survival within the reserves. The genetic bottleneck of isolation will no longer sit in stone: species can travel from one preserve to the next and cross-breed as they do.
Predation will also be maintained in natural order: prey species will have more extensive areas to flee and escape routes to separate zones.
Human impact — as with any other preservation zones — will also be kept to a minimum. While some human contact, including wardens, boundary maintenance and observers, will be necessary, these will be trained professionals in their fields.
Preserving wildlife
The plan will also remove the largest human-contributed culprits from the equation. In particular, it will significantly mitigate the destruction of the natural environment.
Logging and human-created forest fires — the latter of which consumes thousands of acres of wildlife and can travel at close to 15 miles an hour — will no longer destroy the homes of protected wildlife.
Devoting half the earth to natural preservation seems like a big ask. Many countries rely on their natural environments as economic resources and will be widely opposed to the idea of massive, interconnected nature preserves.
However, while it is a drastic step and a tough sell, EO Wilson's plan represents the most realistic and effective plan for preserving wildlife from the destructive touch of humanity.
This Author
Emily Folk is a conservation and sustainability writer and the editor of Conservation Folks.
Court protects Migratory Bird Treaty Act
Environmental groups in the US applaud court ruling against Trump's attempt to undermine Migratory Bird Treaty Act.
Protestors' guerrilla tactics hinder HS2
Ali Jennings
Activists have taken to the trees to halt HS2 construction that threatens to fell tracts of north-London nature reserve.
Calls for Mayor of London to ban pesticides
A London nature reserve has been reduced to muddy pits full of dead fish.
Tax cuts and renewable energy
Federal tax cuts are one way governments can help renewable energy grow in both the residential and business sectors.
Sustainability starts in the classroom
Education is the best start to a sustainable life.
Pests and climate breakdown
Climate breakdown provides a more habitable environment for many types of insects - resulting in pests, crop damage and increased diseases.


Hi! I'm Jan Claus. My full name is Janet, but it has been so long since anyone called me anything but Jan I may not answer if they called me Janet.
I am a wife of over 50 years, a mom, a grandma and a great grandma. I have enjoyed every stage of life, raising my children, spoiling my grandchildren and of course being able to spoil my great grand baby.
In 1999 we began a non-profit organization called Open Gates International. Through this organization we have been honored to support many a mission trip. The organization is still alive and active.
I guess I've always been adventurous, but I didn't realize it because my husband, Bob, has always been more adventurous than me.
Thinking about it; I love new places, I like all kinds of different foods, and I adapt to different experiences quite easily. Which is rather odd, since I am a person of order and tidiness. Must be God.
The countries where I've been include: Russia, Georgia, Jericho West Bank Israel, Jordan, Egypt, Syria, Iraq, Ukraine, Ireland, Jamaica, Moldova and Guatemala. I can't wait to share stories about these places.
My husband, Bob, and I lived in a few of those countries for extended periods of time.
We lived in Jericho for a little over two years. Because of visa requirements we needed to leave the country every three months. But we quickly went back to stay another three months.
While we were there we ran a mission house called: The Jesus House of Prayer. We held Bible studies, taught English as a Second Language, made friends and shared Jesus with them, and we fed the hungry. It was a place where people could come and enjoy the relaxing atmosphere and get to know each other.
In Ukraine we lived at The Widow's House for a year and later had our own apartment. The Widow's House was built by Samaritan Ministries in Ukraine founded by Don and Nancy Miller. We oversaw the running of the house which included helping them cook, monitored their medications, did their laundry (some were unable physically to perform that task), taught Bible studies, and so much more. We also held classes for the teens of the community to learn computer skills, English, and other things like manners. This house was in a small village called Pulin.
We also lived in an apartment in Zhitomer, Ukraine .While we lived there, we worked with a local church. The pastor was quite young and wanted us to help him. We taught classes on leadership, marriage, and how to grow in your Christian walk.
In Jamaica we ran a mission house for six weeks until the new overseers could get there to live. We helped the cook and did the shopping as well as organizing the different short term mission teams that came from different churches, usually for a week at a time.
I hope you join me on my newest adventure — blog-land, or is it blog-ville, or Blog-troplis?
Have you lived overseas and had to learn new things?
I would love to hear your story and hope you enjoy mine.
Some of the trips were normal, some exciting, and some just down right dangerous.
Very interested to hear your stories!
Thanks for the like on my Writing Prompt Wednesday post.
Hello Jan: Over a year ago I got to hear & meet Terry n Susan McIntosh. You could say God hooked me from that night till today. It's very exciting to read and learn about our world, about cultures, about PEOPLE. Mostly about sharing JESUS with others where ever God sends us. Across the St. or across the world.
I was blessed that I went on one mission trip to Nicaragua in 2003. WoW, God didn't just show up HE showed out! I was very sick (Hep C) when I went there. Dr.s told me I was not going to live much longer w/o a liver transplant, which I refused. God= via a sweet young lady I met there, she prayed over my Liver and truned me onto the herbal world. My liver is doing fine all these yrs later. God is the Great Physican! No treatments. I went there very sick and came back on cloud 31. Yes I did.
I know American Sign Language. I never expected to meet any deaf people, just didn't think of that. Well at the end of my trip, a lady hollored, where's that lady that talks with her hands.. I said here I am. There was ONE deaf woman in that long line. At the time I did not even know that there was a Spanish Sign Language, *no*. I spoke no Spanish and the deaf woman did not know English! So immediately I just started signing to her/didn't have time to "think". good thing God was thinking for me~!!!
Yes GOD spoke through my American sign right to that woman's heart, she spoke back to me in American Sign Language and said that she accepted Jesus as her Savior and that she was going home to tell all of her family about JESUS…There's nothing God cannot do. It's us that oft times limit's Him.
I now pray for you and your husband Bob. May God continue to bless you as you bless others.


text:
from django.conf.urls import patterns, url
from rest_framework.urlpatterns import format_suffix_patterns

from apps.api.v2.views import ContactView, LangsView, ContentView

urlpatterns = [
    url(r'contact/$', ContactView.as_view()),
    url(r'language/$', LangsView.as_view()),
    url(r'content', ContentView.as_view()),
]

urlpatterns = format_suffix_patterns(urlpatterns)

redpajama_set_name: RedPajamaGithub


text:
/**
 * Numeric cell renderer
 * @param {Object} instance Handsontable instance
 * @param {Element} TD Table cell where to render
 * @param {Number} row
 * @param {Number} col
 * @param {String|Number} prop Row object property name
 * @param value Value to render (remember to escape unsafe HTML before inserting to DOM!)
 * @param {Object} cellProperties Cell properites (shared by cell renderer and editor)
 */
Handsontable.NumericRenderer = function (instance, TD, row, col, prop, value, cellProperties) {
  if (Handsontable.helper.isNumeric(value)) {
    if (typeof cellProperties.language !== 'undefined') {
      numeral.language(cellProperties.language)
    }
    value = numeral(value).format(cellProperties.format || '0'); //docs: http://numeraljs.com/
    instance.view.wt.wtDom.addClass(TD, 'htNumeric');
  }
  Handsontable.TextRenderer(instance, TD, row, col, prop, value, cellProperties);
};