text:
Das Adjektiv güst steht für:

 nichttragende Stuten und Kühe in der Zwischentragezeit

GÜST oder GÜSt steht für
 Grenzübergangsstelle, DDR-Bezeichnung, siehe Grenzübergang

Siehe auch:
 Guest

GUST


The photo to the left shows an end moraine that appears as a distinct ridge. The glacier is to the left of the moraine. The fact that the elevation of the glacier surface is lower than the elevation of the top of the moraine ridge indicates that the glacier is retreating. Without being able to see more of the surrounding landscape you cannot determine whether this end moraine is a terminal or a recessional moraine.
Photo: E.C. Stebinger. 1914. USGS Photographic Library, photo sec00406. <http://libraryphoto.cr.usgs.gov/> Accessed June 2010.
Two retreating valley glaciers have left behind excellent examples of lateral and end moraines in the photo to the left. The lateral moraines are grayish and form well-defined ridges along the valley walls. The lateral moraines grade into end moraines toward the bottom of the photo. The end moraines are curved and connect the lateral moraine on one side of the valley with the lateral moraine on the other side of the valley. The end moraines are most likely terminal moraines. The river valley at the bottom of the photo was glaciated at one time and the two valley glaciers fed into the larger glacier that filled that river valley. The large glacier that carved the river valley at the bottom of the photo retreated to such an extent that the valley glaciers in the photo were able to advance onto the bottom of the larger valley. As there are no other end moraines from these two valley glaciers at lower elevations, they are terminal moraines.
Photo: E.E. Brabb. 1959. USGS Photographic Library, photo sec00406. <http://libraryphoto.cr.usgs.gov/> Accessed June 2010.
In the photo to the left you are looking down-valley along the crest of a lateral moraine. The lateral moraine is grayish and forms a well-defined ridge along the right side of Carbon Glacier on Mount Rainier. Sediment covers Carbon Glacier, which is to the left of the moraine. There is most likely another lateral moraine along the left side of the glacier but it is not shown in the photo.
Photo: D.R. Crandell. 1952. USGS Photographic Library, photo cdr00115. <http://libraryphoto.cr.usgs.gov/> Accessed June 2010.
The photograph below shows two highly visible medial moraines, one about a third of the way from the left side of the glacier and one in the middle of the glacier, and a third less-obvious medial moraine toward the right third of the glacier. These medial moraines form ridges on top of the existing glacier. Toward the bottom of the photo at the glacier terminus (snout) the medial moraines are still visible even where the ice has melted away from both sides of the moraines. Over time, as meltwater flows through the valley, these ridges will become less distinct.
On the left side of the glacier there is a lateral moraine that forms an irregular ridge. The lateral moraine grades into a series of end moraines toward the bottom of the photo. You can see a series of ridges forming end moraines on the left and right sides of the bottom of the photo, but in the middle left the end moraines have been eroded away. These end moraines form a series of recessional moraines. Each ridge formed during a time period when the glacier was stationary (its size stayed the same) after which the glacier retreated some more and then became stationary again.
Photo: T.L. Pewe. USGS Photographic Library, photo cdr00115. <http://libraryphoto.cr.usgs.gov/> Accessed June 2010.


After revisiting Babymetal (or BABYMETAL as the band scribes) since my initial encounter, I have begun to delve deeper into the origin of the band and have looked into their significance on the global music scene. So far I've learnt that the group has come together in the same fashion as other 'idol' bands such as One Direction and 5 Seconds of Summer, and similarly to these young, vibrant, formulated pop groups, Babymetal has reached immense success not only in their home country of Japan, but appealing to both metal and non-metal fans worldwide. The band defines its style of music as an original genre known as "kawaii metal", "kawaii" meaning cute in Japanese, and cute (as mentioned in my previous blog) is definitely an accurate description of this band. It is the creative mash up of J-Pop and heavy metal that creates this unique sound. I also found it really funny to learn that the girls in this band barely knew what metal was prior to the formation of this band- but hey, in the media these days when does anyone let the truth get in the way of a good story?
It is an obvious challenge to conduct rigorous autoethnogrpahic research about a culture from the opposite side of the world, however due to the ever-growing (and somewhat terrifying) realms of the World Wide Web, I have been able to grasp a deeper understanding of how Babymetal have evolved and why they are so popular. There are thousands upon thousands of posts on Reddit regarding Babymetal, and while there is immense support from Japanese fans, it appears that their fandom is equally as extensive with fans from the US and UK. There are fan clubs devoted to the band left, right, and centre, and the fan-base is collectively known as "The One". The fan-base is a mixture of 'metal heads' who love the musical aspect of the band, and J-Pop lovers who are crazy about their costumes and style. I found it really interesting to find many pages on Reddit dedicated solely to Babymetal 'memes' which transcend both Japanese and Western culture. In my previous post I also noted the humour behind the song "Gimme Chocolate," however I've learned thus far that the lyrical themes found in many of Babymetal's songs reflect real-world issues, particularly aimed towards young girls. Ideas such as encouraging young teens to accept and stand up for themselves, as well as rejecting the idea that the "ideal women" has to be thin (hence the song about eating chocolate), allows this band to be a role model for young Japanese girls. No wonder they are so popular with the Japanese youth.
I also looked at how Japanese fans access music, and while Babymetal are popular on American music streaming services such as Spotify and Apple Music, I found that Spotify is not used in Japan and Apple Music and still very new there, instead, Japanese music streaming app Line Music is the most popular media used to listen to Babymetal. Youtube also remains to be a very popular tool used to consume the work of Babymetal as the costuming and theatrics are a leading part of the band's success.
The culture and context of my initial autoethnographic experience significantly impacted my understanding of the band and the music at hand. I inevitably viewed Babymetal through an Australian/Western cultural lens, therefore my way of understanding the music I was listening to was by comparing it to other metal music that I was aware of. I compared Babymetal to Australian 'metalcore' band Amity Affliction as I could draw similarities between the two bands as I find that while the music of Amity Affliction is considered metal, I don't consider it as heavy as other bands in that genre and find that some of their songs have catchy choruses and hooks. I feel like this is the kind of metal that gets more airplay on the radio, therefore I could relate to Babymetal in this way.
This is only the beginning of my autoethnographic research into this unique group, however it has been fascinating to learn of the band's popularity due to their individuality, and their role as a model for young women. I'm really excited to learn more and construct my independent research project.
For my individual autoethnographic research project, the focus of my investigation will be on the adorable Japanese metal band, Babymetal. The genre of music is a cross between Japanese Pop (J-Pop) and metal, and the effeminate voices of the three girls which make up Babymetal bring a refreshing change to the rock/metal genre.
I was first introduced to the band around six months ago. I love music and have been a fan of alternate styles of music for as long as I can remember, (however I must admit heavy metal has never been a preference of mine). One day as I was listening to Triple J on my apprehensive drive to work, I came across a song that I was unfamiliar with, a song that was both funky, yet heavy to a certain degree. I found myself really enjoying it even though metal is not my thing at all, and it was extremely evident that the music wasn't stereotypical metal, more a combination of a few different genres.
I was so focused on the instrumentals of this track that, admittedly, it took me around two minutes to realise that the song I was listening to wasn't actually in English, and that's what intrigued me the most. Triple J considers itself a radio station for 'alternate' music, but in reality the music played is very westernised and it's rare to hear a song in a different language or from a different cultural background. When the song finished the presenter announced that the artist was a Japanese metal band named Babymetal and that this 'new' group was taking the world by storm. I legitimately could not think of another Japanese artist that I know of or have heard on the radio, so I was quick to look up a bit about the band and what they were about. It was from this day, when I heard a Japanese metal band amongst the acoustic sounds of Chet Faker and the electronic vibes of Tame Impala, that I discovered a new found liking towards metal, and a new found respect for Triple J for exposing this diverse sound to Australian audiences.
DIGC330 is allowing me to revisit my affinity towards this band, and learn more about the style of music and culture in both an analytical and emotional way. Through autoethnographic practices such as 'discerning patterns of cultural experience evidenced by field notes and/or artifacts, and then describing these patterns using facets of storytelling' (Ellis, 2011) , I will obtain a deeper understanding of the band and their global reception, and aim to answer the question- what is Baybymetal?
Once I utilise sites such as Reddit and YouTube as field sites for my autoethnographic research, along with other means of research online, my next blog will revisit my initial observations and decipher what was significant to me and why. The use of epiphanies through my research will build the basis of my digital artifact and contribute to my understanding of the significance of Babymetal.
I wanted to incorporate into my Prezi presentation some background research about each of the groups I am focussing on, with a particular focus on Babymetal, as I wanted to really try and understand how a group of three young Japanese girls could come together to build a career around performing full on metal music across the world, and why I, along with the rest of the world, found their style and music to be so interesting and attention capturing.
Babymetal formed in 2010 as a subunit of the Japanese idol craze with the aim that it would try and channel fusion metal and idol-styled music in what would become a "newborn" genre of metal. It features three girls – Su-Metal (16) as the lead vocalist, and Yuimetal (15) and Moametal (15) as the two back up dancers and singers. In their short career, Babymetal have already played a number of huge metal festival, including being the youngest act ever to play at the metal festival Loud Park in Japan alongside Bring Me the Horizon and Trivium among others.
Metal has always been a genre renowned for being hard-hitting, fast, heavy and confronting, and a typically male dominated genre. So what does this say about the future of metal if three young Japanese girls have captured the attention of metal fans across the globe? Is the idea of metal changing and being moulded differently? Are Babymetal challenging the genre or encouraging a greater audience of people who typically would avoid metal? Do we find 'electro-metal' to be more exciting or modern in today's musical society? These are the questions I hope to be able to explore within my Prezi presentation, and present why I have personally been drawn to Babymetal, as well as other Japanese metal groups.
I spoke about transitioning through genres in Japanese metal in my last post, and I wanted to leave you with this Babymetal music video that perfectly encapsulates trying to fit as many styles into a song as you possibly can.
I am a big metal music fan and as a result, the concept of a Japanese band known as 'Babymetal', fronted by three teenage Japanese girls from a pop/"idol" background performing heavy metal and metalcore type music really intrigued me. I decided to explore their music through their music videos they have released on YouTube.
My first experiences with the band were quite mixed. Their songs are predominantly sung in Japanese, with a very small amount of English being used. While I don't understand the Japanese language, and I was drawn in by the high-energy of the girls and how well they have adjusted to performing music with heavy guitars, drums and big synth sounds. I found that the music also blends tradition Asian instruments well with Western styles of guitar playing and drumming which appealed to me from a cultural position as I feel it's something that isn't really done in today's heavy music.
It was easy for me to find information about Babymetal because of how popular they've grown over the last year, with their Youtube videos gaining millions of views worldwide. They have an official website, YouTube channel with over 230,000 subscribers, and a Facebook page with nearly half a million likes which all pop up on the first page of my search on Google.
Overall, their music really intrigued me to continue exploring heavy music in an Asian (particularly Japanese) cultural setting. I thought the choruses were big, catchy and exciting, and the blend of traditional Asian instruments and big guitars and drums only served to peak my curiosity. I will continue to delve deeper into this cultural phenomenon.
1. BABYMETAL OFFICIAL WEB SITE. 2014. BABYMETAL OFFICIAL WEB SITE. [ONLINE] Available at: http://en.babymetal.jp/home/. [Accessed 12 August 2014].
2. Japanese teen pop meets death metal in an explosion of awesome. 2014. Japanese teen pop meets death metal in an explosion of awesome. [ONLINE] Available at: http://www.dailydot.com/lol/babymetal-metal-japanese-pop/. [Accessed 12 August 2014].
3. BABYMETALofficial – YouTube. 2014. BABYMETALofficial – YouTube. [ONLINE] Available at: https://www.youtube.com/user/BABYMETALofficial/videos. [Accessed 12 August 2014].
"BABYMETAL" went viral at the beginning of this year and simply put is a band that has combined J-Pop and metal. When I first saw this video I thought it was amazing and was incredibly intrigued by it because to me it's such a strange concept; the combination of J-Pop and metal. I think Western cultures have an automatic reaction to Japanese culture as being a bit kooky and weird but I also think this is a lack of understanding and knowledge of the culture. My automatic reaction to this video was along the lines of "why?" why was it necessary to combine these two genres but the more I watched it the more I loved it, it may not be everyone's taste but I think most people would be able to see the genius of it.
After watching their video for "ギミチョコ!!- Gimme chocolate!!" I wanted to understand why and how BABYMETAL was created thus filling some of the "unexplainable holes in my general understanding". I was already aware of the fact that in Japan a lot of music groups are "manufactured", meaning talent agencies create the groups. This was exactly how BABYMETAL was formed, their producer wanted to mix Japanese teen pop with metal.
As with in the lecture where we discussed what the "J" in j-pop stands for; in the case of BABYMETAL the way they emulate Japanese culture is the way they dress (similar to manga and anime characters), their synchronized dance routines and their "kawaii" (or "cute") vocals. If you were to watch their videos without any sound they would look like most other J-Pop Idol Groups but less preppy, with the sound switched on they're in a league of their own.
The different sites I used when exploring BABYMETAL was the video itself, which went viral via YouTube, as well as other YouTube videos, which discussed and reacted to BABYMETAL. The second time I came across BABYMETAL was in another YouTube video as part of a series created by YouTubers The Fine Brothers called "YouTubers React to BABYMETAL". As the name would suggest, in said video various YouTubers react to BABYMETAL for the first time. Watching that video adds a whole new layer to my experience in that it shows people who reacted exactly the same as me or completely differently highlighting a new perspective on the phenomenon that is BABYMETAL.
About six months ago someone shared the YouTube clip below on Facebook with some accompanying confession of guilt over how catchy they found it. The thumbnail and description for the embedded video made it pretty obvious that this was a Japanese pop (J-pop) song and having already acquired a taste for J-pop some years ago I decided to check it out. I think it's fair to say it wasn't entirely what I was expecting.
When I saw Babymetal for the first time I was struck with sudden shock and amusement. While the vocals and choreography are undeniably lifted straight from the J-pop handbook, it had been married with the somewhat unlikely partner "metal". What was more unusual was that it worked despite the fact the heavy metal elements being likely to alienate many J-pop fans and vice versa. But as a fan of both genres I felt like I had found a valuable favourite in the vast music landscape. So I immediately sought out more.
The above song is the one that really won me over and it wasn't until after a few listens that I realized why. I realized that the melody was an appropriation from a piece of traditional Japanese folk music called Sakura that I had actually been introduced to in my very early childhood by an episode of the Australian children's program Playschool. Suddenly this simple pop-metal mashup struck another unlikely balance between personal nostalgia for a Caucasian Australian and the traditions of Japanese culture. I do not speak Japanese, so the lingual meanings of the song are completely lost on me. But through my own nostalgia and recollection that Sakura is "the cherry blossom song" I do get a strange sense of meaning from the song, although I am aware that this meaning could be largely unique to me.
But Babymetal taught me something else about modern Japanese music and my own hidden assumptions. I realized that up until this point I had viewed J-pop in relation to the American pop I had grown up with, as if J-pop was merely a flavour of something that America had created. I saw Japanese music as "doing what Westerners do, but better" without really considering that Japanese musicians are also drawing from their own culture and creating something of their own.


The git global config name and email address settings are not used if project specific versions are not set.
The tests in GitSCM.java for the project local settings in getGitConfigEmailToUse() and getGitConfigNameToUse() do not take an empty string into account. It seems that the default setting for a new build configuration is to have empty strings for these so that means that the global settings are ignored.
There was a fix for JENKINS-9702 in revision 89e610b7 but this problem looks to have been present before then also.
The fix is simple just use fixEmptyAndTrim on project local values before testing whether to fallback on the global setting. Pull request coming soon.
Richard Mortimer added a comment - 2011-07-11 08:00 The tests in GitSCM.java for the project local settings in getGitConfigEmailToUse() and getGitConfigNameToUse() do not take an empty string into account. It seems that the default setting for a new build configuration is to have empty strings for these so that means that the global settings are ignored. There was a fix for JENKINS-9702 in revision 89e610b7 but this problem looks to have been present before then also. The fix is simple just use fixEmptyAndTrim on project local values before testing whether to fallback on the global setting. Pull request coming soon.
[FIXED JENKINS-10272] Global git config name and email address settings not used.
SCM/JIRA link daemon added a comment - 2011-07-15 18:52 Code changed in jenkins User: Andrew Bayer Path: src/main/java/hudson/plugins/git/GitSCM.java http://jenkins-ci.org/commit/git-plugin/421d83843c964669cf436c0c170c935dffe0aaac Log: Merge pull request #37 from oldelvet/jenkins-10272 [FIXED JENKINS-10272] Global git config name and email address settings not used.


Some thoughts and quick questions for you wonderful people.
1. After a deacon gets a blessing to vest, does he ever recite vesting prayers? Particularly, is there a separate prayer for the orarion?
2. Do minor orders ever recite vesting prayers? That is, readers for the sticharion (when serving in the altar) and subdeacons for the stichar and orar?
3. Can/should blessed altar servers, who aren't tonsured, recite a blessing prayer for the stichar?
I appreciate any and all insights. Thanks a million!
1. Yes. For the orarion the current texts have no prayer. In the Old Rite the deacon prays: "Holy, Holy, Holy is the Lord of Sabaoth, heaven and earth are full of His glory" when donning the orarion.
2. I see no reason why they can't even though it isn't mentioned.
I have come home at last! This is my real country.
Folding Vestments, pray: O Lord Jesus Christ, Son of God, have mercy on me, a sinner.
Bowing to the East, pray: O God, be gracious unto me the sinner.
With Sticharion and Orarion in hand, bowing to the Priest, say: Bless, Master.
I have notated where the scripture came from in parenthesis.
Why wouldn't the vesting prayers for a subdeacon be the same as for a deacon? They are the same vestments (minus cuffs), just worn differently. In my own tradition, this is the case: the vesting prayers for readers and subdeacons are the same as for deacons, priests, and bishops to the extent that the sticharion and orarion are the same garment for all these ranks.
Remove from me, O Lord God, the filthy garments with which Satan has clothed me through the weakness of my evil deeds, and clothe me with the choice garments that befit the service of Your honor and for the glory of Your Holy Name, our Lord and our God, forever.
This seems strange to me, because on many occasions at St. Ephrems Fr. Hanna or Archpriest Shara (who is now semi-retired) would distribute communion after the liturgy wearing a hamnikho (epitrachelion) over their black cassock, which this particular prayer seems to describe in a most unflattering manner. And is it really right of us to associate with Satan the choir dress of our clergy? It just doesn't make sense to me, but Syriac Orthodox priests, in the Western US at least, in the Suroye church, distributing communion with merely the hamnikho over the cassock causes it to make even less sense. In my view it should probably be chopped, assuming the priests still say it (you can hear them doing the Preparatory Service but since I don't speak Arabic or Syriac I have no idea what they are saying).
Further to this point, Mor, does your church do this? The MOSC has a tendency to do things in a more consistent manner, to put it mildly, than the Levantine portion of the Syriac Orthodox Patriarchate, so I would not be surprised if your jurisdiction were more consistent on this than ours.
In our service book the prayer for the deacon's orarion is: Holy, holy, holy, Lord of Sabaoth: heaven and earth are full of Your glory. Traditional if there are words on a deacon's orarion it is the thrice holy. However a subdeacon and deacon have different orarions and a subdeacon does not have cuffs. I would not feel comfortable saying the vesting prayers of the deacon. I also cut the part of the prayer for the sticharion to not include being crowned and adorned with jewels. I felt it was presumptuous of me to recite it. This is my personal practice and not a standard.


For hundreds of years, infections of all kinds have affected people from all around the world. Luckily, there are a wide variety of medicines available which can be used in order to treat such conditions. One example is Grifulvin V which is popular for being able to treat fungus infections in the body, in areas such as the feet, fingernails, toenails, skin, groin, scalp and more. It belongs to a group of drugs known as antifungals, but can either be taken alone, or combined with other medicines and then applied to the fungus infections on the body.
What should patients know prior to using Grifulvin V?
When it comes down to using this medicine, there are a couple of important factors worth keeping in mind, to ensure that patients remain healthy throughout the treatment. With this in mind, once you're being consulted, make sure to let your doctor know of most of your health conditions, alongside with whether you are allergic to any of the substances present in the medicine. In return, your physician will make the choice that suits you best. Do keep in mind the fact that using this drug alongside with incompatible medicines can bring in a couple of unpleasant side effects. Doses may also need to be varied based on the current state of the infection and its actual development. At this moment in time, it is not recommended to take Grifulvin V after drinking.
Taking the drug while pregnant can turn out to be quite harmful to the unborn baby, which is why it is important to let your doctor know if you are pregnant, or if you plan to become so during the treatment.
At this moment in time, there are various ways of administering the medicine. It is currently available as micro size capsules, suspension and tablets. The actual dosage which needs to be administered depends on a couple of factors, which is why it is important for patients to follow their doctor's direction. Do not make your dosage either lower or higher, or take the medicine for longer or shorter than it has been directed.
In case you have missed a dose, simply take the missed one as soon as possible. In case it is almost time for you to take the next dose, then go ahead and skip the missed one to avoid an overdose. In the unfortunate scenario that you have overdosed, it is important to seek emergency medical attention to help prevent any issues from appearing.
What are the side effects currently associated with Grifulvin V?
At this moment in time, some of the most common side effects include chills, cough, fever, itching, muscle or joint pain, sore throat, weakness, tiredness, peeling, blistering and more. In case you suffer from worse side effects, and even from the ones outlined above, it is imperative to seek medical help.


text:
Q: MySql database 5.5.46 version - Check login of each user The logins of each user are stored in the _t_user table of the mysql database 5.5.46 version
+------------+-----------------------+-----------+---------+-----------+
| IP_ADDRESS | Date_Time_from_System | User_name | Event   | Effective |
+------------+-----------------------+-----------+---------+-----------+
| XX1030729  | 2022-08-11 15:16:52   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 15:16:28   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:24:50   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:23:52   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:23:26   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:22:56   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:22:54   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:20:52   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:19:40   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:15:06   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:14:12   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:14:00   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:13:30   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 12:22:06   | CIRICILLS | OUT     | NULL      |
| XX1030729  | 2022-08-11 12:21:04   | CIRICILLS | IN      | NULL      |
+------------+-----------------------+-----------+---------+-----------+

Each user has three minutes to logout manually.
Each single logout is stored in the same table _t_user.
I need to update on the table _t_user the column Effective with value 'N' when the user log out manually within the expected three minutes.
Example for user_name CIRICILLS
+------------+-----------------------+-----------+---------+-----------+
| IP_ADDRESS | Date_Time_from_System | User_name | Event   | Effective |
+------------+-----------------------+-----------+---------+-----------+
| XX1030729  | 2022-08-11 15:16:52   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 15:16:28   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:24:50   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:23:52   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:23:26   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:22:56   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:22:54   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:20:52   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:19:40   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:15:06   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:14:12   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:14:00   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 13:13:30   | CIRICILLS | IN      | NULL      |
| XX1030729  | 2022-08-11 12:22:06   | CIRICILLS | OUT     | N         |
| XX1030729  | 2022-08-11 12:21:04   | CIRICILLS | IN      | N         |
+------------+-----------------------+-----------+---------+-----------+

Because the time difference from first login and next manually logout for user_name CIRICILLS, is less than the three minutes.
SELECT TIMEDIFF('2022-08-11 12:22:06','2022-08-11 12:21:04');
+-------------------------------------------------------+
| TIMEDIFF('2022-08-11 12:22:06','2022-08-11 12:21:04') |
+-------------------------------------------------------+
| 00:01:02                                              |
+-------------------------------------------------------+
1 row in set

Any suggestion?
https://www.db-fiddle.com/f/5T3qr61DP2qtDDaWUnpBgA/4

A: This is done using MySQL5.7 . Assuming every OUT has an IN before it (no consecutive OUT) , we can use an OUTTER SELF JOIN to form a derived table in which the table1 has a datetime that is right after table2's datetime (except the very first table1's datetime). To ensure the datetime discrepancy between the two tables' datetime is immediate,  I used the @row_id trick to generate row_id in chronological order. The rest is just to calculate the effective value via CASE . Here is the one I wrote and tested in workbench. Note I took the liberty of adding 4 rows in addition to your original 15 rows for more thorough testing. As commented after each statement which contains an OUT, 3 out of the 4 OUT are qualified as being 'N'.
INSERT INTO `_t_user` VALUES (1, 'XX1030729', '2022-08-11 15:16:52', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (2, 'XX1030729', '2022-08-11 15:16:28', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (3, 'XX1030729', '2022-08-11 13:24:50', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (4, 'XX1030729', '2022-08-11 13:23:52', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (5, 'XX1030729', '2022-08-11 13:23:26', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (6, 'XX1030729', '2022-08-11 13:22:56', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (7, 'XX1030729', '2022-08-11 13:22:54', 'CIRICILLS', 'OUT', NULL); -- qualify
INSERT INTO `_t_user` VALUES (8, 'XX1030729', '2022-08-11 13:20:52', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (9, 'XX1030729', '2022-08-11 13:19:40', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (10, 'XX1030729', '2022-08-11 13:15:06', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (11, 'XX1030729', '2022-08-11 13:14:12', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (12, 'XX1030729', '2022-08-11 13:14:00', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (13, 'XX1030729', '2022-08-11 13:13:30', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (14, 'XX1030729', '2022-08-11 12:22:06', 'CIRICILLS', 'OUT', NULL); -- qualify
INSERT INTO `_t_user` VALUES (15, 'XX1030729', '2022-08-11 12:21:04', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (16, 'XX1030729', '2022-08-11 15:20:04', 'CIRICILLS', 'OUT', NULL); -- disqualify
INSERT INTO `_t_user` VALUES (17, 'XX1030729', '2022-08-12 12:23:04', 'CIRICILLS', 'IN', NULL);
INSERT INTO `_t_user` VALUES (18, 'XX1030729', '2022-08-12 12:25:04', 'CIRICILLS', 'OUT', NULL); -- qualify
INSERT INTO `_t_user` VALUES (19, 'XX1030729', '2022-08-13 12:25:04', 'CIRICILLS', 'IN', NULL);

Here is the query:
select  t1.ip_address,t1.date_time_from_system,t1.user_name,t1.event,
        case when t1.event='OUT' and time_to_sec(timediff(t1.date_time_from_system,t2.date_time_from_system )) <=180
            then 'N' else null end as effective
from
    (select ip_address,date_time_from_system,user_name,event,effective,@row_id:=@row_id+1 as row_id
    from _t_user,(select @row_id:=0) t
    order by date_time_from_system) t1
left join
    (select ip_address,date_time_from_system,user_name,event,effective,@row_num:=@row_num+1 as row_num
    from _t_user,(select @row_num:=0) t
    order by date_time_from_system) t2
on t1.row_id-t2.row_num=1
order by t1.date_time_from_system
;

--result set from workbench:
# ip_address, date_time_from_system, user_name, event, effective
XX1030729, 2022-08-11 12:21:04, CIRICILLS, IN,
XX1030729, 2022-08-11 12:22:06, CIRICILLS, OUT, N
XX1030729, 2022-08-11 13:13:30, CIRICILLS, IN,
XX1030729, 2022-08-11 13:14:00, CIRICILLS, IN,
XX1030729, 2022-08-11 13:14:12, CIRICILLS, IN,
XX1030729, 2022-08-11 13:15:06, CIRICILLS, IN,
XX1030729, 2022-08-11 13:19:40, CIRICILLS, IN,
XX1030729, 2022-08-11 13:20:52, CIRICILLS, IN,
XX1030729, 2022-08-11 13:22:54, CIRICILLS, OUT, N
XX1030729, 2022-08-11 13:22:56, CIRICILLS, IN,
XX1030729, 2022-08-11 13:23:26, CIRICILLS, IN,
XX1030729, 2022-08-11 13:23:52, CIRICILLS, IN,
XX1030729, 2022-08-11 13:24:50, CIRICILLS, IN,
XX1030729, 2022-08-11 15:16:28, CIRICILLS, IN,
XX1030729, 2022-08-11 15:16:52, CIRICILLS, IN,
XX1030729, 2022-08-11 15:20:04, CIRICILLS, OUT,
XX1030729, 2022-08-12 12:23:04, CIRICILLS, IN,
XX1030729, 2022-08-12 12:25:04, CIRICILLS, OUT, N
XX1030729, 2022-08-13 12:25:04, CIRICILLS, IN,

redpajama_set_name: RedPajamaStackExchange


U.S. officials said that although Washington continues to talk with Turkey about the matter, the Pentagon has begun taking necessary steps to find other sources of supply for the Turkish-produced parts of the F-35. The department, said one official, is taking prudent steps to protect the supply chain and the shared investments in the aircraft technology.
The officials spoke on condition of anonymity to discuss the decision before it was announced.
"As a principle, it is contrary to international laws for a third country to oppose an agreement between two countries," Cavusoglu said. "We are committed to this agreement. There can be no such thing as selling to a third country. We are buying them for our own needs."


text:
Has Amazon Already Figured Out the Future of the Music Streaming Business?
18 January 2020 18 January 2020 Leave a comment
In order to grow, streaming services may need to offer customers more, better, and cheaper subscription options — something Amazon is already doing…
More: refind.com/link/51426981
Waveform Free DAW Announced At NAMM 2020
Tracktion Corporation has announced the release of Waveform Free, a forthcoming freeware digital audio workstation that is set to replace T7 DAW. The news was announced at NAMM 2020, along with the information about Tracktion Corporation's new flagship DAW software called Waveform 11. The free version of the software will include the majority of the […]
View post: Waveform Free DAW Announced At NAMM 2020
From: Bedroom Producers Blog | bedroomproducersblog.com/2020/01/18/tracktion-waveform-free/
Long Stories (Remaster) by Ingo Vogelmann on Apple Music
Marco Minnemann after show 5 vs 7 hang
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Long Stories (Remaster)
Long Stories (Remaster), an album by Ingo Vogelmann on Spotify…
Gain Staging: What to know, and why you shouldn't stress out about it.
Gain Staging – Production Fundamentals: Concept Overview This video hopes to demystify gain staging. An full transcript can be found at noisefloorav.c……
We are seeing the very worst of our scientific predictions come to pass in these bushfires
As a climate scientist I am wondering if the Earth system has now breached a tipping point…
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Some scientists say the best way to combat climate change is to talk about it. For 2019, my New Year's resolution was to do just that….
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Michael Stipe: 'Who would I say sorry to? Everyone I slept with before the age of 27'
The REM frontman on smoking, Susan Sontag and how it feels to be in love…

redpajama_set_name: RedPajamaCommonCrawl


A wide variety of calcite options are available to you, such as industrial grade, agriculture grade, and food grade. There are 526 calcite suppliers, mainly located in Asia. The top supplying country is Pakistan, which supply 100% of calcite respectively.
SHREEJI MINERALS, Experts in Manufacturing and Exporting CALCITE, DOLOMITE and 1 more Products. A Supplier on .
offers 59 mineral specimens india products. About 22% of these are crystal crafts, 22% are loose gemstone, and 16% are semi precious stone crafts. A wide variety of mineral specimens india options are available to you, such as crystal diamond, ball & globe, and figurine.
Calcite calcium carbonate Calcite is the most important rock making ore in the earth's crust. We are hoping to cooperate with partners in global market to creat win win business.
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offers 32,906 export n import products. About 1% of these are knitted fabric, 1% are 100% polyester fabric, and 1% are 100% cotton fabric. A wide variety of export n import options are available to you, such as mesh fabric, ball, and roller.
Aug 01, 2018· 5 YRS Shanghai Zenith Minerals Co., Tags New Types Calcite Crushers For Sale In Australia Tags Crusher Manufacturers In Ahmedabad Crusher Manufacturers In Hyderabad. New design mixing machinerys machinery Kenya brick machine use for business 4 25 with great price .
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offers 940 fine calcite products. About 31% of these are marble, 21% are carbonate, and 4% are other non metallic minerals & products. A wide variety of fine calcite options are available to you, such as industrial grade, agriculture grade, and food grade.
About 49% of these are marble, 32% are carbonate, and 4% are other non metallic minerals & products. A wide variety of calcite options are available to you, such as calcium carbonate, copper carbonate.
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Dec 12, 2017· Calcium carbonate price in india products are most popular in Eastern Asia, South Asia, and Central America. You can ensure product safety by selecting from certified suppliers, including 63 with ISO9001, 31 with ISO14001, and 28 with Other certification.
May 14, 2018· offers 301 fix chemical plant products. About 8% of these are mixing equipment, 4% are pumps, and 1% are water treatment. A wide variety of fix chemical plant options are available to you, such as liquid with suspended solids, apparel, and powder.
We, Manek Minerals would like to introduce as manufacturers and exporters in India for different grades bleaching earth for different types of application. We mine, process and market all types of Bleaching Earth for all type of Fruits Juice, edible oils, non edible oil and Vanaspati plants.
Food grade calcite products are most popular in Southeast Asia, North America, and Eastern Asia. You can ensure product safety by selecting from certified suppliers, including 142 with ISO9001, 6 with OHSAS18001, and 6 with ISO14001 certification.
offers 15,118 calcite prices products. About 67% of these are marble, 4% are carbonate, and 3% are mine mill. A wide variety of calcite prices options are available to you, such as calcium carbonate, raymond mill, and magnesium carbonate.


text:
genom alfabetet
efter land
av stil
efter datum
konstverk
av media
slumpmässig konstverk
av museer
Handla om
Begär en inbjudan
kaka uttalande
Hemsida James Abbott Mcneill Whistler Arrangement in Grey and Black. Portrait of the Painter's Mother
Arrangement in Grey and Black. Portrait of the Painter's Mother – (James Abbott Mcneill Whistler) ◄ Tidigare Nästa ►
liknande konstverk
Köp reproduktion
Köp bild
Konstnär: James Abbott Mcneill Whistler
Stil: Tonalism
ämnen: Portraits Colour Mothers Woman Painter
museum: Musée d'Orsay (Paris, France)
Teknik: Oil
Arrangement in Grey and Black No.1, famous under its colloquial name Whistler's Mother, is an 1871 oil-on-canvas painting by American-born painter James McNeill Whistler. The painting is 56.81 by 63.94 inches (144.3 cm × 162.4 cm), displayed in a frame of Whistler's own design in the Musée d'Orsay in Paris, having been bought by the French state in 1891. It is now one of the most famous works by an American artist outside the United States. It has been variously described as an American icon and a Victorian Mona Lisa.
Anna McNeill Whistler posed for the painting while living in London with her son. Several unverifiable stories surround the making of the painting itself; one is that Anna Whistler acted as a replacement for another model who couldn't make the appointment. Another is that Whistler originally envisioned painting the model standing up, but that his mother was too uncomfortable to pose standing for an extended period.
The work was shown at the 104th Exhibition of the Royal Academy of Art in London (1872), but first came within a hair's breadth of rejection by the Academy. This episode worsened the rift between Whistler and the British art world; Arrangement would be the last painting he would submit for the Academy's approval.
The sensibilities of a Victorian era viewing audience would not accept what was apparently a portrait being exhibited as a mere "arrangement"; thus the explanatory title "Portrait of the Artist's Mother" was appended. It was from this that the work acquired its popular name. After Thomas Carlyle viewed the painting, he agreed to sit for a similar composition, this one being titled Arrangement in Grey and Black, No. 2. Thus the previous painting became Arrangement in Grey and Black, No. 1 more or less by default.
Storlek på-denna imago (MIME-typ: Imago / zhpeg) v pixlarna och. Andra resolitions:ed pixlar och
This artwork is in the public domain.
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James Abbott Mcneill Whistler – Mest visade konstverk
Arrangement in Grey and Black. Portrait of the Painter's Mother
Nocturne in Black and Gold: The Falling Rocket
Nocturne: Blue and Silver - Chelsea
The Coast of Brittany (also known as Alone with the Tide)
Milly Finch
Symphony in White no 2 The Little White Girl
Nocturne in Blue and Silver
Rose and Silver: The Princess from the Land of Porcelain
Harmony in Green and Rose The Music Room
The Japanese Dress
Harmony in Flesh Colour and Red
Symphony in White, No. 2: The Little White Girl
Nocturne: Blue and Gold - Old Battersea Bridge
Nocturne in Black and Gold The Falling Rocket
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I'm using 0.14 with rails assets pipeline and got it working fine. I don't get quasar cli but don't miss it much, and vue-loader gives me tree shaking, single file components and the like.
Tried 0.15 and could not get it to work at all. I tried both umd (no tree shaking, and did not work with rails asset pipeline) and direct (no no).
The intended way to integrate Quasar into another framework is the UMD version, you would have a really hard time integrating the ESM version, because you need to create the build process by yourself (which totaly is possible, you could take a look at the webpack config Quasar uses) and you can not easily updated.
The ESM version is intended for SPAs (I count PWAs and ELectron / Cordova as a subset of them). So you would have a standalone Quasar setup and communicate with Rails only via HTTP messages (your Rails app would only be an API).


text:
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Free Basics: Myths and Facts
Fast facts about Internet.org and Free Basics.
MYTH: Facebook and its telecom partners pick and choose what services are on Free Basics
FACT: When we initially released Internet.org, it was with a limited number of partners. There were some legitimate complaints. So we listened and opened the program. Internet.org – now called Free Basics – is open to any developer and any application that meets basic technical requirements.
MYTH: Facebook gets access to all usage data of sites that are on Free Basics
FACT: Facebook takes user privacy and security extremely seriously. Free Basics receives and stores data on navigation information – the domain or name of the Third-Party Service accessed through Free Basics, and the amount of data (e.g. megabytes) used when you access or use that service – because it needs to determine what traffic can be delivered free of data charges. Facebook does not store any personal navigation information from within the service beyond 90 days. We don't share any personally identifiable information with our content partners and there is no requirement for those partners to send Facebook such information about their users.
MYTH: Free Basics is creating an unfair internet access model
FACT: Free Basics is designed to promote an internet access model that is free and non-exclusive. The Free Basics Platform is free for end users. It is also free for content partners (i.e., the services that partner with Free Basics); Facebook does not require content partners, to pay to be included in Free Basics. Neither Facebook nor its content partners pay the operators for the data people consume through Free Basics. Finally, Free Basics is not exclusive to any operator, and Facebook is willing to work with any operator that wants to provide free basic services. In the Philippines, Malawi, Bangladesh, Thailand and Mongolia, Facebook already works with multiple operators in a single market.
MYTH: Free Basics prevents people from experiencing the full internet and they are likely to stay on Free Basics
FACT: We have a saying at Facebook: data wins arguments. And the data from this program shows that it works to open up the full internet to people who use Free Basics. 50% of people who use Free Basics are paying for data – and access the internet outside of free basic services – within 30 days of coming online for the first time.
MYTH: When people leave Free Basics they don't realize they are now paying for the internet
FACT: When people leave Free Basics they are clearly notified that there will be data charges incurred.
MYTH: Free Basics advertising is targeted at people who are already online and is an attempt to encourage them to switch service providers
FACT: Advertising for Free Basics is happening across a variety of demographics, including rural areas where there are people not yet online. Also, dual SIMS in India are common so people can choose to use two service providers.
MYTH: Free Basics is a way for Facebook to control the internet
FACT: The goal of Free Basics is to introduce people to the value of the internet through hundreds of free basic services, beyond Facebook. Giving people a list that features a broader set of services is important for helping people experience the value of other online services, like women's health information and education services. A key component for developers participating in Free Basics is to encourage the exploration of the entire internet.
MYTH: Facebook is entering into lucrative deals with their telco partners
FACT: No money is being paid to Facebook, developers or telcos. Facebook does not receive or give any money to developers, telcos or anyone else for their participation in Free Basics. The only money spent is to promote the program so the unconnected are aware of how to connect.
MYTH: Free Basics creates tiered, unequal interests for developers by creating a consumer data pricing differentiation between those companies which are on board and those which are not
FACT: Free Basics is an application and website that addresses the affordability and awareness challenges by giving people a way to experience the internet for the first time with zero data charges. The Free Basics Platform is open to any developer and any application that meets basic technical requirements. Facebook offers a broad package of tools for companies to help launch their service – both in and out of Free Basics, and holds developer events globally to connect with and help developers launch their online services.
MYTH: Internet.org is failing to address the internet infrastructure challenges India has
FACT: Internet.org is a Facebook-led initiative bringing together technology leaders, nonprofits and local communities to connect the two thirds of the world that doesn't have internet access. It helps eliminate some of the key barriers to people coming online – infrastructure, affordability and awareness. Facebook and Internet.org partners are working together on a series of practical projects and experiments designed to break down these barriers:
Increasing data affordability and enabling new business models that will reduce the barriers to access and connectivity. This is Free Basics. In India, more than 40% of users coming online for the first time with Free Basics pay for access to the full internet within 30 days of joining Free Basics. Of the people who have joined Free Basics, there are 8x more people who have paid for, and are using the full internet, than there are who have chosen to continue only using Free Basics.
Expanding reliable network access to communities that have no or limited connectivity by focusing on infrastructure R&D projects. This is our Connectivity Lab, which is exploring longer-term solutions to connectivity and new infrastructure that can help reduce some of the physical barriers to access, including satellites, lasers and unmanned aerial systems.
Developing relevant content and services by accelerating the creation and distribution of relevant local language digital content and services that perform well on older devices and networks. This is the Internet.org Innovation Lab that simulates network conditions typically found in growth markets, giving developers an environment to test and optimize their applications for new customers across different regions.
We also recently announced Express WiFi, a program we are testing in India that allows customers to purchase fast, reliable and affordable data packages to access the internet via local hotspots.
MYTH: Free Basics is not open, public and democratic
FACT: Free Basics is open to any developer and any application that meets basic technical requirements. Services are compatible with Free Basics if they meet two criteria: (1) they are data-efficient (e.g., services that use VoIP, video, file transfer, or photos larger than 200 KB are not compatible), and (2) they meet the technical specifications outlined in the technical guidelines. Free Basics is designed to promote an internet access model that is free and non-exclusive. The Free Basics Platform is free for end users. It is also free for content partners; Facebook does not require content partners, to pay to be included in Free Basics. Neither Facebook nor its content partners pay the operators for the data people consume through Free Basics. Finally, Free Basics is not exclusive to any operator, and Facebook is willing to work with any operator that wants to provide free basic services. In the Philippines, Malawi and Mongolia, Facebook already works with multiple operators in a single market.
MYTH: Free Basics is giving people a distorted view of the internet and Facebook should instead focus on offering subsidized data costs for the entire internet
FACT: To help connect the two-thirds of the world that doesn't have internet access, we are experimenting with helping operators build sustainable business models. Building, maintaining, and operating network infrastructure is expensive and we want to help them to sustain and grow this investment. Subsidizing the cost of data can be dangerous and usually distorts markets, which in the long run is bad for users on many levels. Our goal is to create a model that supports diverse, dynamic internet markets with thriving developer communities and an abundance of local content so that people have an opportunity to consume a vast array of content and services. The Free Basics Platform gives developers an opportunity to include their services in Free Basics and gives people choice over the services that they want to use.
MYTH: Free Basics violates the principles of net neutrality
FACT: Facebook supports net neutrality and has worked throughout the world to ensure that services can't be blocked or throttled and to ensure that fast lanes are prohibited. Net neutrality seeks to ensure that network operators don't limit access to services people want to use, and the goal of Free Basics is to provide more people with access. It is good for consumer choice and consumer value. Net neutrality and Free Basics can and must co-exist.
MYTH: Facebook has launched Free Basics to help drive its own growth and revenue opportunities within developing countries
FACT: There are no ads within the Facebook experience on Free Basics. If revenue were the goal, Facebook would have focused resources on markets where online advertising is already thriving.
MYTH: Free Basics is a threat to local innovation
FACT: There is no greater threat to local innovation than leaving people offline. Free Basics increases the potential audience for services and helps bring more people online faster, using the entire internet. Facebook offers a broad package of tools for organizations to help launch their service – both in and out of Free Basics, and holds events globally to connect with and help developers launch their online services.
Survey Finds More Than 4 in 5 Indians Support Free Basics
In a survey of more than 3,000 people in India, 86% of respondents supported Free Basics when presented with arguments for and against the service.…
Highlights from Internet.org at AfricaCom
This week Ime Archibong, director of product partnerships, and Markku Makelainen, director of global operator partnerships, took the stage at AfricaCom in Cape Town. They…
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text:
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Note about events amid COVID-19: NCEDSV is staying up-to-date on the Coronavirus (COVID-19), and plans to follow public health guidelines for our Regional Trainings in May and our Annual Conference in September. We intend to continue planning these events in-person, hoping that the public health threat will resolve, but we will offer them as virtual events if needed. We will continue posting updates to keep those planning on attending informed. Registration for the Regional Trainings, whether in person or taking place virtually, is still required for the event. NCEDSV provides training and technical assistance (meaning direct, problem-solving services), to Nevada's domestic violence and sexual violence service programs and providers. These services are tailored to the needs of each individual program, organization, or person requesting help. Members can call or email NCEDSV to receive support in a variety of areas, from best practices to nonprofit management and governance. If you or your organization would benefit from training or technical assistance, please contact us.
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text:
Sinclair Broadcast will test new broadcast standard in Dallas market
By Lorraine Mirabella
The Baltimore Sun |
Sinclair Broadcast Group and several partners plan to build out the infrastructure to run a trial of Next Generation TV, a new mobile-friendly broadcast transmission standard, in the Dallas television market.
Hunt Valley-based Sinclair and partners Nextstar Media Group and Univision Local Media said Wednesday they had reached an agreement with American Tower Corp., a wireless and broadcast infrastructure provider, to build and operate single-frequency network sites to broadcast the signals around Dallas.
The standard will allow consumers to access unlimited live local and national news, sports and entertainment shows in ultra-high definition on tablets, laptops and smartphones without having to use cellular services.
The test is a first step toward a national launch of the updated transmission system, the 3.0 version of the industry's current 1.0 digital standard, Sinclair said. The single-frequency network will allow for testing and deployment of next-generation services, which, besides mobile viewing, are expected to include improved over-the-air reception, zoned programming and advertising, broadcast services to vehicles and advanced emergency alert systems.
Sinclair Broadcast sees opportunity in 'Next Generation' broadcast standard
Broadcast television is poised to transform the way it reaches viewers under advances in technology that have long been backed by Baltimore-based Sinclair Broadcast Group.
"With the FCC's approval of the ATSC 3.0 standard, broadcasters are eager and ready to demonstrate its many capabilities, business opportunities and consumer benefits," said Chris Ripley, president and CEO of Sinclair, in Wednesday's announcement. "This is an exciting time for television broadcasters as we deploy new technologies that will allow us to provide advanced nationwide business models that benefit consumers and allow us to remain competitive."
Nextstar Media owns, operates or programs 170 TV stations, including affiliates of NBC, CBS, ABC, FOX, MyNetworkTV and The CW, while Univision runs Univision Network, the nation's most-watched Spanish-language broadcast network in the country, and other networks.
Sinclair is awaiting the Federal Communication Commission's decision on its proposed $3.9 billion takeover of Tribune Media, which would cement the company's spot as the nation's largest broadcaster, with control of 233 television stations that reach 72 percent of U.S. households.
HUD considers change to Section 8 rents


text:
Zitat: Mario Keplinger, "Strain mapping in semiconductor nanowires using X-ray diffraction" , 3-2014
Original Titel: Strain mapping in semiconductor nanowires using X-ray diffraction
Original Kurzfassung: Strain engineering in semiconductor materials facilitates the fabrication of novel electronic and optoelectronic devices. The electronic properties of semiconductors are determined by their building blocks, i.e. their atoms, and by the way how these building blocks are arranged, i.e. their crystal structure. If stress is applied, the spatial arrangement of the atoms is altered and the material is strained according to its mechanical response property, the stiffness. Within the elastic regime, strain results in a changed band structure of the material. The band structure of a semiconductor can be seen as a map of its electronic and optoelectronic properties. X-ray diffraction, being a versatile structural characterization method, probes the atom's electron clouds in crystalline materials, and is widely used to deduce the strain in semiconductor materials. In this work, X-ray diffraction is used to probe the strain distribution in semiconductor nanowires. Nanowires are several $\mu$m long rod shaped semiconductor structures with diameters below 100\,nm. Due to quantum confinement effects the nanowires are one-dimensional in terms of their electronic properties. This allows for the fabrication of various devices, being superior compared to similar state of the art devices. Standard ensemble X-ray diffraction experiments in connection with results from electron microscopy investigations were performed to investigate InAs/\InAsP\ nanowire heterostructures. These nanowire structures exhibit a strain state according to the material's lattice mismatch and the nanowire geometry.
Publikationstyp: Dissertation
Autoren: Mario Keplinger


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S. 295 / H.R. 595 Explained Section by Section
Click on the headings for the bill text
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Section 1. Short Title
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This Act is named after "Amy" and "Vicky" who are victims in two of the most widely-distributed child pornography series in the world. In Paroline v. United States, which reviewed Amy's case, the Supreme Court found that Section 2259 is not well-suited for cases involving child pornography possession and distribution and should be amended to allow victims like Amy and Vicky to recover mandatory restitution. This bill addresses the Supreme Court's concerns.
Section 2. Findings
The Congressional findings are in direct response to the Supreme Court's concerns in Paroline v. United States. Many of these findings are taken directly from the Court's decision and emphasize that child pornography crimes, which now occur primarily on the Internet, are unique crimes with a unique and devastating impact on victims. The findings stress that victims suffer due to the "aggregate causation" of multiple actors who independently commit intentional crimes that combine to produce an indivisible injury. Congress also finds that victims should not be limited to receiving restitution from defendants only for losses caused by each defendant's own offense of conviction. A less restrictive aggregate causation standard, combined with appropriate constitutional limits and protections for defendants, will ensure that child pornography victims receive the full and timely mandatory restitution which Congress requires.
Section 3. Mandatory Restitution
Ever since the original version of this statute was enacted in 1994 as part of the Violence Against Women Act, Congress has required that restitution be mandatory for violations of Chapter 110 which encompasses child exploitation crimes including the production, distribution, and possession of child pornography. The main challenge courts have faced is determining how the "full amount of the victim's losses" is imposed because the losses from child pornography crimes are indivisible and an uncertain number of persons contribute to these losses. The Supreme Court proposed joint and several liability with contribution as one possible solution to this problem. The Court also suggested minimum statutory restitution as another possible solution. This bill adopts both approaches.
Subsection (3)(A)
This subsection seeks to restore Congressional intent that the "full amount of the victim's losses" includes "lifetime" medical services relating to physical, psychiatric, or psychological care; "lifetime" physical and occupational therapy or rehabilitation; and "lifetime" lost income. These enumerated losses are intended to be "lifetime" aggregate losses, while necessary transportation, temporary housing, and child care expenses, along with attorneys' fees, as well as other costs incurred, are specific to the individual defendant or case.
Subsection (3)(B)
This subsection moves the final catchall category of "any other losses" into a separate subsection to make it clear that only this category of losses is subject to a proximate cause standard. The inclusion of these "any other losses" in the enumerated losses created a variety of problems for courts which read this subsection's proximate cause requirement into the other enumerated losses. This required a victim to show how each individual defendant proximately caused her losses which made the statute unworkable and inadequate for victims of non-production child pornography offenses.
Subsection (3)(C)
This subsection incorporates the losses suffered by a victim from any "sexual act" or "sexual contact," as defined in Section 2246, in preparation for or during the production of child pornography depicting the victim involved in the offense. This new subsection recognizes that the losses from child pornography are indivisible and include not only violations under Chapter 110, but the sexual grooming that occurs in preparation for or during the production of child pornography. Although this sexual abuse is not captured as child pornography, it is attendant and directly related to the production of child pornography and is an indivisible part of the full amount of the victim's losses.
Subsection (c)
This subsection, entitled Determining Restitution, is added to help guide courts on how to calculate mandatory restitution.
Subsection (c)(1)
If a victim was harmed by one and only one defendant, a court must determine the full amount of the victim's losses caused by that defendant and enter an order of restitution for not less than the full amount of the victim's losses. This will ensure that victims receive full restitution in these cases. Unlike the previous version of Section 2259, the new law is specifically limited to the child pornography offenses in Chapter 110 which include section 2251, 2251A, 2252, 2252A and 2260. The miscellaneous seldom-used non-child pornography sections in Chapter 110 are omitted. Restitution, if any, under those sections can be obtained under the MVRA or VWPA. The Victim and Witness Protection Act (VWPA) is 18 USC 3663 and applies to any defendant convicted of an offense under Title 18. The Mandatory Victim Restitution Act (MVRA) is 18 USC 3663A and applies to any, broadly speaking, "crime of violence." Restitution under the MVRA is mandatory while restitution under the VWPA is not.
If a victim was harmed by more than one defendant, the court must consider the aggregate harm to the victim by including the harm inflicted on the victim by more than one person, regardless of whether the persons have been charged, prosecuted, or convicted in any Federal or state court of competent jurisdiction within the United States. The court must include not only the full amount of the victim's losses caused by all such persons, but also the full amount of the victim's losses reasonably expected to be caused by such persons.
Once a court has made this determination, it has two options: it can simply enter an order of restitution against the defendant in favor of the victim for the full amount of the victim's losses under Subsection (c)(2)(A), or it can enter an order of restitution in an amount that is not more than the "full amount of the victim's losses, and not less than a statutory minimum amount under Subsection (c)(2)(B)." In no case will a victim receive more than the full amount of their losses.
The statutory minimum amounts are: Subsection (c)(2)(B)(i) $250,000 for any statutory listed offense or offenses involving the production of child pornography; Subsection (c)(2)(B)(ii) $150,000 for any statutory listed offense or offenses involving distribution or sale of child pornography; and Subsection (c)(2)(B)(iii) $25,000 for any statutory listed offense or offenses involving possession of child pornography. Each statutory minimum amount references the specific Chapter 110 offenses to clarify the scope of each statutory minimum amount. Each statutory minimum amount also applies to an "offense" or multiple "offenses" which means that victims cannot 'stack' statutory minimum amounts against any single defendant; victims are entitled to one statutory minimum award in each case. In no case is the statutory minimum amount greater than the fine attached to these offenses. This should mitigate any Eighth Amendment concerns about excessive punishment.
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This section clarifies that no order of restitution may exceed the full amount of a victim's losses. This protects defendants from paying for losses which are beyond the actual losses suffered from a victim. It also allows judges to award victims restitution in an amount which is greater than the statutory minimum amounts, but less than the full amount of a victim's losses.
In cases where a restitution order is entered for the full amount of a victim's losses under paragraph (2)(A), each defendant against whom such an order is entered shall be jointly and severally liable to the victim with all other defendants against whom such an order of restitution is entered. This makes defendants jointly and severally liable, but only in cases where each defendant is responsible for the full amount of a victim's losses. Defendants for whom a statutory minimum amount is imposed are not subject to joint and several liability. This provision is in response to the Supreme Court's concern that victims be fully compensated for the full amount of their losses in a timely and complete manner, while holding defendants mutually responsible for the full amount of a victim's losses.
A right to contribution by and between defendants is essential to maintain the constitutionality of a joint and several award in the full amount of a victim's losses. Each defendant who is ordered to pay restitution in the full amount of the victim's losses under paragraph (2)(A) and has in fact made such a payment which is equal to or exceeding the statutory minimum amount, may recover contribution from any defendant who is also ordered to pay restitution under paragraph (2)(A). Contribution claims shall be brought in accordance with the Federal Rules of Civil Procedure. Payments among liable parties may be allocated using such equitable factors as the court determines are appropriate so long as no payments to victims are reduced or delayed. This subsection imposes a 5 year statute of limitations starting on the date on which the defendant seeking contribution was ordered to pay restitution under this section.
Subsection (4)
This subsection is in response to the Supreme Court's concern with determining the full amount of a victim's losses from multiple defendants. This subsection makes it clear that a victim is not only a person who is harmed by the commission of an offense under Chapter 110, but also a person who is harmed by a series of offenses committed by the defendant and other persons causing aggregated losses.
This subsection requires the Attorney General to report to Congress not later than 1 year after the date of enactment on the progress, if any, of the Department of Justice in obtaining restitution for victims of any offense under Chapter 110.
1 Reply to "S. 295 / H.R. 595 Explained Section by Section"


The hostname identifies the name of the machine to which the display is physically connected. The most common form of hostname is simply the node name, as more than likely the server is in the same network. However, it is possible to use a fully qualified domain or even an IP address for the hostname.
Unless you have some special hardware, you probably have only one physical display per server. However, each display is given a number starting at 0. If you only have one, then you will always access hostname:0. The screen number is only used in cases where a single keyboard and mouse are associated with multiple monitors. Like displays, screens are counted starting at 0. Because multiple screens are far less common than multiple displays, you can omit the screen number when specifying the display. Generally, the default display is stored in the DISPLAY variable, which is then used by default. However, many X clients have a -display option, with which you can specify the display.
The next important issue is the concept of geometry. One advantage of a system like X is the ability not only to move windows around the screen but also to change their size and shape as well. Rather than using the window manager to change the shape of the window, you can specify the shape and size when the application is started by specifying the clients geometry.
It will start the client so that the right edge of the clock is 30 pixels outside of the right edge of the screen. (Be careful not to have spaces in there.) This does not mean that the entire clock is outside of the right edge of the screen. This is a misconception that many people have (including me, at first). On many systems, there is something magical about the upper left corner of the client. Offsets from the edge of the screen are in relationship to this magical corner. This is not so with X.
A +xoff value is the distance of the left edge of the client from the left edge of the screen. A -xoff value is the distance of the right edge of the client from the right edge of the screen. This also means that a +yoff value is the distance of the top of the client to the top of the screen, and -yoff is the distance from the bottom of the client to the bottom of the screen.
Thats not all. We can use a couple more options. However, these are listed in the oclock(X) man-page, so you can take a look there if you want. Other clients have different options because some of them don't make sense with an analog clock. For example, the digital clock (dclock) has an option to specify the font (-fn). Because there are no characters on the analog clock, an option to change the font wouldn't make sense.


Some more Jillibean Soup stuff! Sorry for the not-so-great photos. Also, sorry for those of you that are not paper crafters. Check back tomorrow for our last giveaway.
You could make some really fun cards with this stuff!!
All you have to do is tell me when you started scrapbooking. I started in 1999 thanks to my lovely sister-in-laws and stepmother. The winner will be picked tomorrow evening at 9:00pm EST via Random.org.
#10 Cindy! Congrats! Cindy, can you e-mail your address to jill@jillibean-soup.com and I'll get your bling in the mail!
Congrats! Thank you everyone for participating! My favorite product to use is definitely patterned paper! I'm a "collector".
I'm sure you heard me mention that the Columbus Scrappers were hosting a card swap featuring Jillibean Soup products. Well, we had the swap yesterday and I would like to share the cards that were made.
"Enjoy the Day" by Kim. I love how Kim pulled out the apple green color. I'm a huge fan of apple green (yes, I like colors other than brown). Love the "v" shaped ribbon on the side too. Thanks Kim!
A notecard from Missey. Love those birds in the middle! Missey used both the Cream of Mush line (birds) and the Spicy Pumpkin line (vine). I'm sure you've noticed that all of the browns used in the paper are all the same. This makes it easy to use several different styles from several different collections. Thanks Missey!
"Just Because" from Gina. Love how Gina combined both the kraft and white Cream of Mush lines. It's hard to see but Gina added some bling (I think it's Stickles) on the parenthesis around her message. Cute, cute Gina!
A notecard from Robyn. The peachy/orange flowers really pull out the colors in the paper. Love it! Thanks Robyn for the cute card!
A "thank you" card from Jana. I love how Jana added the "thank you" to the flower petal. So cute! Love that Spicy Pumpkin line!
A notecard from Amy. I love color blocking! I do it all the time and I love how Amy did it with the Blackbean collection! Amy lives in Illinois and still took the time to participate in the swap. Thanks Amy!
Thank you ladies! You guys are awesome! I can't say it enough…thank you for supporting Jillibean Soup!