In the last two shiurim we examined the significance of Jerusalem's topography. As a continuation of the same subject, this shiur and the next will be devoted to the issue of Jerusalem's proximity to the desert.
We shall first describe the actual data that testify to this fact; thereafter, we shall discuss its spiritual significance.
In the northern mountainous region, the meeting with the desert happens around the settlements of Kokhav ha-Shachar and Rimonim.
In the south – in the northern part of the Hebron mountains, where Gush Etzion is situated today, the desert meets the mountains around the settlements of Metzad, Ma'aleh Amos, Tekoa and Nokdim.
Around Jerusalem, in contrast, the encounter with the desert is far further to the west: on the eastern slopes of the Mount of Olives .
Likewise, the rock type is different in the east, and to the east of the city we already start finding vegetation that is typical of the desert (corresponding to the more limited rainfall). These, then, are the data that connect Jerusalem to the edge of the desert.
Now, in keeping with the approach that we adopted with regard to other aspects that we have investigated, we shall propose that this topographical reality bears spiritual significance, and we shall explore this idea.
"For the land to which you are coming to possess it is not like Egypt, from whence you have come – where you sow your seed and water it with your foot, like a vegetable garden. Rather, the land to which you are passing over is a land of hills and valleys; you shall drink water from the rain of the heavens" (Devarim 11:10-12).
While this reality characterizes all of Eretz Yisrael, it is clear that the closer a place is to the desert, the greater its dependence on rain. We witness the practical expression of this state of affairs during dry years, when shepherds – lacking any pasture for their flocks in the desert – move westward, towards the mountains, where there is more vegetation and food for the animals.
Jerusalem itself, owing to its proximity to the desert, can easily become a place to which shepherds lead their flocks. Thus the shepherds turn this area itself, to a certain extent, into desert .
The prophet Yishayahu (64:9-10) describes a situation in which "Your holy cities have become desert; Zion has become a desert, Jerusalem is desolate. Our holy, beautiful house where our fathers praised You, has been burned with fire, and all of our pleasant things have been laid waste" .
The proximity to the desert creates a real dependence on the quantity of rain, and this has its effect on the nature of the habitation of the area.
Following the verses quoted above from Parashat Eikev, the Torah continues (Devarim 11:12), "A land that the Lord your God cares for; the eyes of the Lord your God are upon it from the beginning of the year to the end of the year."
There is an internal connection between dependence and Divine Providence: to the extent that one is more dependent, he enjoys more specific supervision. This supervision actually means "connection;" – in other words, a situation of dependence deepens the connection of a person, or of the world, to God, dependence on Him, and association with Him. Jerusalem is more dependent than most cities, and by virtue of this dependence, its connection with God finds expression .
Dependence and Providence are two sides of the same coin. To the extent that a person is dependent upon God, the workings of Divine Providence in his life and in the world are clear to him. In this sense, reliance actually serves to connect and bind all of Creation to its Creator. In a situation of drought there is no rain, and all of Eretz Yisrael – and Jerusalem in particular – return, as it were, to a situation of "desert," the situation that existed prior to Benei Yisrael's entry into the land; a situation of absolute reliance upon God.
In explaining the reliance of the land on God, the Torah indicates two main reasons: the pervasive idolatry, and the lack of social justice with its various manifestations.
"Guard yourselves lest your hearts be tempted, and you stray and worship other gods and serve them. Then God will be angry with you and He will shut up the heavens so that there will be no rain, and the land will not give forth its produce, and you will soon perish from the good land which God gives you."
In the days of Eliyahu, it seems that this was the simplest reason for the prophet's decree, "There shall be no rain or dew during these years, except by my word" .
"For the Lord your God is the God of all gods and the Master of all masters; the great, mighty and terrible God Who does not show preference and does not accept bribes; He performs justice for the orphan and the widow, and loves the convert (stranger), to give him bread and clothes."
In other words, the aspiration for legal and social justice – especially towards widows, orphans and converts (strangers) – is the model that should illuminate the way for Benei Yisrael, guiding them to emulate the qualities of God: "You shall love the stranger, for you were strangers in the land of Egypt. You shall fear the Lord your God; you shall serve Him and you shall cleave to Him…."
This, then, is the condition for dwelling in the land of Israel.
In II Shemuel 21 the text mentions three years of drought "Because of Shaul and his bloody house, because he killed the Giv'onim." The reason for the drought was the insult to the rights of the strangers residing in the land during the days of Shaul. The Giv'onim demanded that seven of Shaul's sons be handed over to them for hanging – "And we shall hang them up to God in Giv'at Shaul (he who was God's chosen)." When the bodies are buried, God relents and gives rain.
Amos 4:7 onwards records another drought, resulting from the "Cows of Bashan in the mountain of Shomron, who oppress the needy and crush the destitute" (4:1). The nation continues to offer sacrifices in the Temple while, at the same time, condoning and maintaining social injustices; this causes the severe drought.
"When the heavens are stopped up and there is no rain because they have sinned to You, they shall pray at this place and praise Your Name, and return from their sin, when You afflict them. And You shall hear, in the heavens, and shall forgive the sin of Your servants and Your nation, Israel, to whom You show the good path that they should follow, and give rain upon Your land which You have given to Your nation as an inheritance."
In other words, the Temple serves as an address to turn to at times of drought (as well as in other times of need), through prayer to God.
"Consider, now, from this day onwards: from the twenty-fourth day of the ninth month, from the day when the foundation of God's Temple was laid – consider it. Is the seed in the barn yet; have the vine and the fig tree and the pomegranate and the olive tree borne their fruit yet? From this day I shall bless you" (and likewise the parallel verses in Zekharya 8:9-12).
In other words, prior to the rebuilding of the Temple, there was no rain and no blessing; it was only the commencement of building that caused these phenomena to manifest themselves. Hence, we deduce that there is a strong connection between Jerusalem and the Temple and the phenomenon of rainfall.
In Tehillim 147 (verse 12 onwards) we find that Jerusalem praises God for the rain and material blessing that the land enjoys. It is no coincidence that it is Jerusalem that offers this praise. Owing to its proximity to the desert, Jerusalem is particularly sensitive to the need for rain and knows to praise and thank God when that blessing is fulfilled.
"Rabbi Chanan of Tzippori taught, in the name of Rabbi Shemuel bar Nachman: Because of four things God retracted His [original] decision, such that the world would now only be irrigated [by rainfall] from above: because of thugs, and in order to wash away noxious fumes, and so that the tall would receive as much water as the lowly, and so that all would cast their gaze upwards – as it is written, 'to set those who are downtrodden on high' (Iyov 5:11)."
"Water from a river may be controlled by thugs, but rain is freely available to all – it falls upon the tall and the lowly, the strong and the weak, as we find in Iyov 5:10-11; 'Who gives rain upon the face of the earth and sends water upon the open places, to set those who are downtrodden on high, and that those who mourn may be exalted to safety.'"
The Midrash continues the same idea mentioned previously. The phenomenon of rain, as opposed to rivers and flowing streams, allows man to be dependent upon God and to ask for rain. Therefore, by bringing rain God is in fact acting as a just King, Who distributes His blessing equitably .
We have already discussed the fact that the very name "Yerushalayim" means justice ("tzedek") and that its whole essence is justice; its king is called "tzedek," and the city and its king are expected to act with tzedek. When the king acts justly and the city acts justly – they enjoy abundant blessing (see Yishayahu 32:1-2; 15:20); when they do not act justly, the city becomes a desert for all intents and purposes.
According to this understanding, the proximity of Jerusalem to the desert is no coincidence. It is of fundamental significance. It expresses reliance, and its special connection with God. The essential quality of the city – justice – has the ability to influence the blessing that it showered upon it, or (heaven forbid) to turn it into a desert.
This is one aspect of the proximity of the city to the desert, demonstrating – through the city's dependence from a climatic and physical point of view – its dependence on God, and the expectation that justice will characterize its king and kingdom, just as justice characterizes the kingdom and kingship of God.
We may summarize the above by saying that Jerusalem is very close to the desert, and therefore is dependent – even more than the rest of the country – on rain. The reasons for this dependence on rain are, mainly, the temptations of idolatry and the easy descent into social injustice. What this means is that rain is one of the gifts that is given directly by God . Idolatry means a negation of the recognition that rain is given directly by God – and therefore, in this situation, God withholds rain. And with regard to social justice, God grants life to man in order that he will behave justly and in an upright manner. Therefore rain provides everyone with an equal share of water (in contrast to springs and rivers, which provide irrigation mainly to certain areas but not to others), and teach man to allow others what they deserve. When a society does not recognize this and people fail to give to others, they will see that God, too, declines to give, and they will suffer measure for measure.
Eretz Yisrael in general, and Jerusalem and the Temple in particular, are places where this dependence is felt with special clarity because of the proximity to the desert. Therefore God expects of them a greater measure of justice and moral behavior, in order that Am Yisrael will be deemed worthy of dwelling in the "Sanctuary of the King." Hence, the reliance of Jerusalem on rain has a reason: it is directly connected to the essence of Jerusalem and of the Temple as the dwelling place of justice.
 Yisrael Rosenson, in his article "Midbar shel Yerushalayim" (Telalei Orot) brings an interesting proof for this from the episode of David's flight from Jerusalem during the rebellion of Avshalom (II Shemuel 15). In verse 32 we read: "And it was, when David came to the peak, where he would prostrate himself before God…" – referring, apparently, to the peak of the Mount of Olives range. Thereafter, in chapter 16: 1-3, we read: "When David was just past the peak, behold – Tziva, the attendant of Mefiboshet, met him with a couple of saddled donkeys, with two hundred loaves of bread upon them, and a hundred bunches of raisins, and a hundred summer fruits, and a bottle of wine. And the King said to Tziva: What do you mean by these? And Tziva said, The donkeys are for the King's household, for riding, and the bread and the summer fruits are for the young men to eat, and the wine – that those who are faint in the desert may drink." David has now progressed slightly beyond the top of the Mount of Olives, in a north-easterly direction, and Tziva brings food that is meant to refresh those who feel faint in the desert. In other words, the desert starts immediately to the east of the Mount of Olives. The Gemara, in Rosh Ha-shana 31a, describing the ten journeys made by the Divine Presence, likewise recounts: "And from the city [Jerusalem] to the mountain, and from the mountain to the desert." The simple station to the east of the Mount of Olives (the mountain which is on the eastern side of the city – Yechezkel 11:23) is the desert, because of its great proximity to the Mount of Olives.
 An interesting description of this phenomenon is to be found in Yirmiyahu 12:10 – "Many shepherds have destroyed my vineyard; they have trodden my portion, they have made my portion a barren wilderness. They have made it a desolate waste; the desolation mourns to me. The whole land is laid waste for no-one takes it to heart. The spoilers have come upon all the high hills in the desert, for the sword of God has devoured from one end of the land to the other; there is no peace for anyone. They have sown wheat but reaped thorns; they have worked but gained nothing. Be ashamed of your harvests, because of the anger of God."
 Ultimately, the complete destruction described by the prophet is actually the destruction of the city and the Temple.
 This subject is an extensive one. There is a famous teaching by Rabbi Simcha Bunim of Peshis'cha, concerning the punishment meted out by God to the snake: "You shall eat dust all the days of your life" (Bereishit 40:14) – that although it would seem that the snake is now in the favorable position of having food readily available at all times, the punishment here is the distance from God: the snake will never need any contact with God. The Gaon Rav Shelomo Fisher provides a beautiful example: in his book, "Derashot Beit Yishai," vol. I, p. 131. How is it possible that the kohanim – the very "soldiers of God," as it were – are forced to wander from one threshing floor to the next, to receive their food? The answer is that to the kohanim it is very clear Who their food comes from. Their reliance reminds them at all times that they are servants of God, and dependent upon Him. This subject is certainly worthy of a discussion in its own right; here we merely make mention of it. Conversely, the Torah devotes many verses to the corruptive and destructive aspects of material abundance – e.g., Devarim 8:11-18.
 We make mention of two articles in this regard: Rav Yisrael Samet, "Ha-geshem bi-Yerushalayim," in "Ke-Lavi Shakhen," p. 458 onwards; and Shuki Preizler and Noam Perl, "Al Divrei ha-Batzoret," Orot Etzion 20, p. 119 onwards. We discuss above some sources that these authors treat in their respective articles, and concur in certain aspects.
 This issue should be elaborated upon, but we shall not do so in the present context.
 A beautiful expression of this significance of water is to be found in the words of Iyov (28:25-26): "He makes a weight for the wind, and weighs the water by measure; when He makes a decree for the rain and a way for the lightning of thunder." Rain is connected to a "decree" – justice, as described above.
 "The key for rainfall is in God's hand" (Ta'anit 2a).


text:
What is RRS?
The Regional Religious System (RRS) aims to provide a new perspective to the "old question" of regionalism and localism in Chinese history, thus initiating a renewed research program of historical GIS and spatial analysis for achieving a more complete consideration of the role of religion in terms of regional formation.
Explore China's Zhejiang Province
The Combining other spatial analysis methods such as Regional Systems Analysis (RSA), Hierarchical Regional Space (HRC), Point Pattern Analysis (PPA), the RRS concept reveals a high level of correlation between religious sites and their natural, social, and cultural environs.
University of Arizona is Hosting PNC 2022
It is our great pleasure to announce that the PNC 2022 Annual Conference and Joint Meetings (PNC 2022) will take place in the University of Arizona (Tucson), USA from September 16th-18th, 2022. The main theme of the PNC 2022 is "The Digital World in an Age of Uncertainty: Humanizing Technology for Wellness, Resilience, and Creativity".
New RRS Book is Out
The rise of Spatial Humanities has spurred a digital revolution in the field of Chinese studies, especially in the study of religion. Based on years of data compilation and analysis of religious sites, this book explores the formation of Regional Religious Systems (RRS) in Greater China in unprecedented scope and depth. It addresses quantitatively the enduring historical and contemporary issues of China's deep-rooted regionalism and spatially variegated cultural and religious landscape.
What We Are Doing?
The central research question is how RRS interacts with other regional formations of economic, cultural, and social existences and contributes to the emergence of the unique "Chinese regionalism" which has shaped Chinese history and continues to influence her future in today's interconnected global settings.

redpajama_set_name: RedPajamaCommonCrawl


text:
Московець — багатозначний термін

Люди
 Московець Валерій Іванович (1949—2022) — радянський та український діяч правоохоронних органів, вчений-соціолог.
 Московець Семен Микитович (1900—1971) — український вчений-фітопатолог.
 Поліщук-Московець Наталія Володимирівна — артистка драми Національного академічного українського драматичного театру імені Марії Заньковецької, заслужений артист України

Географічні об'єкти
 Московець — село в Пловдивській області Болгарії. Входить до складу общини Карлово.

Примітки

redpajama_set_name: RedPajamaWikipedia


Pates & Pastes	There are 21 products.
Pork village pate with green pepper.
NO PRESERVATIVES ADDED! Real Taste! Perfect on bread as an appetizer. Argeta chicken pate is made from chicken meat enriched with milk and soy proteins and seasoned with selected natural spices. Gluten-free.
Pate with Tomatoes. Product of Croatia.
The new range of vegetable products "Mashed Beans with Vegetables" : - diversity in periods when the station's conduct requires a specific diet - combination of tasty vegetables - an alternative to meat pates - a quick snack, easy and delicious.
NO PRESERVATIVES ADDED! Real Taste!
Pork village pate with smoked bacon.


Male and Female Occupancy on a separate wing with its own male and female separate washroom.
Each resident is entitled to a storage compartment for seasonal clothing.
Residents fridge will be at lounge room for personal short time storage of comfort food.
Resident's phone for personal use will be located in the living room with second phone in the lounge.
Internet access on wifi, a laptop can be borrowed from the office for personal use.


It's not you. It is the pattern.
Warning: Long (potentially boring) rant to follow. And it doesn't even have pictures.
I've been meaning to write this for a while but didn't quite get around to it. Then Seamstress Erin and I discussed it at length during our fabric shopping in Chiang Mai and I still didn't write about it. And then yesterday I saw a post by someone who discovered that the finished garment measurements on her McCalls jacket pattern were completely inaccurate. Unfortunately, I now can't find this post so if you know who this is, please let me know so that I can credit the author.
I had first read this very interesting thesis a while ago but didn't pay enough attention to the details. It was written by Debra Lee McLendon at North Carolina State University as part of her Master of Science (Textiles). We'll come back to this shortly.
When I was making M6702 I was looking at finished garment measurements, one of which was Hips 142 cm or 56.5″. However, 142 cm does not equal 56.5″ so one of them has to be wrong. 56.5″ is actually 143.5 cm, so if you were to go by the metric measure you are already 1.5 cm out. Then I measured the flat pattern and the finished garment size at the hips is actually 145 cm.
So this prompted me to go back to the thesis. Basically, the author made test garments from fitting shells (Vogue and Butterick) and semi-fitted dresses in both size 10 and size 18. The semi-fitted patterns were from Burda, Butterick (size 10 only), McCalls and New Look.
company ease specifications for each fit category? Generally, no.
None of the three fitting shells met ease requirements in all three areas. The size 10 Vogue came closest to meeting the required amount in the bust, whereas both brands of the size 18 had too much ease in the bust. All three patterns had too little ease in the waist and hip.
The only brand to meet ease specifications for the semi-fitted category of the size 10 patterns under evaluation was Butterick #5746.
None of the brands of the size 18 patterns met the ease specifications for the semi-fitted category.
None of the brands evaluated met their finished garment specifications when compared to the tissue measurements.
However, I had always thought of that in relation to what it seems most of us find acceptable. I hadn't really thought about the fact that they do not have the ease they claim to have or should have according to the companies' own specifications. It is also very easy to dismiss what seem to be small differences. After all, half an inch isn't very much. But when a fitting shell has half an inch too much ease in the bust, this is at least a 20% difference.
Do pattern companies really think that give or take 20% here or there is ok?
We can argue about ease amounts, after all desirable ease and the fit it provides is subjective. But now we are talking about accuracy. As the author states, the tissue pattern measurements on all brands failed to match the finished garment specs for both the bust and hip.
That's right, not one of the patterns researched had accurate finished garment measurements.
The author concluded with this, Based on the data, it would not be possible to produce a garment from any of the patterns that matched the expected finished garment specs provided on the patterns.
How is this considered acceptable? How have we come to accept that patterns just are inaccurate?
I must admit that I fear an avalanche of "that is why you need to make a muslin" responses. But surely a muslin should be to tweak a pattern to our unique bodies not to compensate for the fact that the initial pattern is just plain wrong?
You know what I think about this since we thoroughly covered it during our drink break! But I'll chime in for others – I totally agree with you! Patterns should at least be consistent with what they say they are and then muslins should be used for body-specific fit.
I completely agree with you and have stumbled upon this problem many times myself – and not just with the big 4/burda, I have also noticed that a number of indi companies do not have accurate finished measurements. It is beyond frustrating to know the both the size charts and completed measurements are inaccurate, sometimes by up to 2 inches!
I don't do muslins as that means sewing the garment twice – yawn! However I've always checked the pattern pieces and done a tissue fit if I was concerned. I rarely look at the listed final measurements other than the garment length. I must have had a sewing teacher tell me to do this, it would seem to be a good habit!
I am now very envious of both Thornberry and Seamstress Erin as they have not only met you, but gone shopping too!
*shaking my head* Making sure that a garment has accurate finished measurements should be one of the final steps in the pattern testing/QA process. I work in software, and we'd get raked over the coals by our customers for that type of inaccuracy.
Maybe this is why so few pattern companies publish finished garment measurements any more?
Yes, I do think we covered it thoroughly (and a lot else besides). Thanks for starting the comments rolling.
Beyond frustrating is such an accurate description of the situation. And as you say it is often not by just an eighth of an inch or so.
I must admit I don't do muslins either and always presume that the first attempt will be at least wearable. Can I ask what you mean by 'check the pattern pieces'? Do you measure them? Eyeball them? I envy you your tissue fit ability. I just can't seem to do it. All I achieve is torn tissue and no idea.
You are so kind but there's no need to be envious – just come to Chiang Mai and we'll go shopping!
This is exactly what I find so galling. I can't conceive of a professional situation where this degree of inaccuracy is acceptable.
Maybe you're right – after all if you don't provide the information it can't be incorrect.
Hmmm but how hard would it be for them to get it right? This shouldn't even be an issue. When I draft by hand I start with body measurements, add desired ease, then add seam allowances. I know exactly how much ease there is – I put it there. To be sure, for future reference, I measure my finished pattern. Sometimes I'm a quarter inch out overall, but never more than that. I'm drafting at home by hand for myself so some imprecision is both expected. But the pattern companies are selling their product. They should check, and not just base size, and print their measurements on the envelope not the tissue.
Yes, yes, yes to all your points. My thoughts exactly but put more succinctly.
I´m new here but totally agree. The only patterns that actually work with minimal alterations (and attention to remeasure every given detail) are the Ottobre ones for me. I prefer magazines to single patterns. Burda is a disaster, it´s always been. There were a few others I tried but none of them were correct.
I guess they still think women like to go one size down from their real measurement and it´s a psycho thing. However in the sewing community it´s extremely annoying – they don´t take into account that we actually know our measurements and want to have fitting garments without having any prethought size tag on them.
Hi there – just looked back to link to your blog for my own and saw your question. I measure the pattern and subtract the seam allowances. Then I hold the tape measure around my body at the finished measurement. If the pattern measures X around the bust, I'll hold the tape around me at Xcm and see if it is enough/too much/meets in the middle! Same for all the other important spots like thighs, biceps, calves and crotch. Cheers!
Wow that is very thorough of you. I just wish we didn't have to go to so much trouble. I wish pattern companies would just make accurate (and plentiful) finished garment measurements available.
I've read that thesis as well – it also compared shapes, if I remember correctly, with Burda being narrower in the hip – in other words, there was nothing standard. The inaccuracy is a concern, and when you add our cutting and sewing inaccuracies as well, it's a wonder a pattern works at all. I guess that is why I tend to muslin, I am so over failures! Failures are expensive. I wonder why we have to take all the risks, not the company – no wonder people have flocked to RTW, and no wonder the pattern companies are running scared.
Yes, it is the inaccuracy that really bothers me. I can't think of another professional situation where that degree of inaccuracy would be acceptable.
I wonder why we have to take all the risks, not the company – this sums up my feelings exactly.
Especially given the dearth of info we are given in the first place re finished garment measurements. Actually I had started a post on exactly that and it got kind of forgotten. This might be just the impetus I need to resurrect it. Thanks!
It's also good to see you back around more now that you have more time. Hope the studies are going well.


This is the King Of Futons all time favorite futon frame from Night & Day Furniture. It's got that perfect blend of styles that make it suitable for nearly any decor or motif. It hints at Arts & Crafts but isn't so rigid, and the low profile arm makes it modern and sleek. Plus, the name reminds us of one of our favorite places in the world, mon. The Kingston provides both function and funk-tion and will add charm and flavor to your world. The King Of Futons thinks the Honey oak finish is superb on the Kingston and these do exceptionally well as Loveseat Loungers. In fact, the Full sofa, Loveseat Loungers, and Chair sizes are all on the King Of Futons Totally Awesome list. Simple to use and available in a variety of sizes and colors, the Kingston utilizes Night & Day's patented Bronze Shoe Fittings conversion mechanism. Made of 100% solid hardwood.
Full Sofa: (A) 81" x (B) 41" x (C) 40"
Queen Sofa: (A) 86.5" x (B) 41" x (C) 40"
Full Loveseat Lounger: (A) 60" x (B) 41" x (C) 40"
Full Loveseat Lounger w/ottoman extension out: (A) 60" x (B) 62" x (C) 40"
Twin Loveseat Lounger: (A) 45" x (B) 41" x (C) 40"
Twin Loveseat Lounger w/ottoman extension out: (A) 45" x (B) 62" x (C) 40"


text:
Q: Write TypeScript and emit a library for Browser and Node I have an internal library used in Node.js and browser. It has many files, concatenated with a Grunt task and different prologues, one for browser, one for Node:
browser:
// dependent 3rd-party libs like Mustache are already global
window.myLib = { /*just a namespace object filled with stuff later*/ }

// then comes the plain javascript which just adds elements to myLib.
// This part is identical to that used in Node
// example:
myLib.renderPartDetail = function (...) {...};

Node:
var Mustache = require('mustache');
var myLib = {};
module.exports = myLib;

// then comes the plain javascript which just adds elements to myLib.
// This part is identical to that used in Browser

This results in 2 different single output js files, one for browser, one for Node.
What I'd like

*

*use TypeScript

*if possible, use only one CommonJS syntax (or ES6 modules) for both browser and node

*invest in something not dying in the next couple of months

*be a bit more modular (maybe somebody needs only part of the lib)

What confuses me
I find 2 different kinds of module handling in TypeScript:
import {a, b} from './x'

and
import c = require('./y')

I'm used to the latter from node, but the first looks like ES6 (which might be the future).
Currently I use tsc --module commonjs but this is only the output format, right? There is also --module system but I can't find documentation for this option and when I use it, the compiler complains about export = ... is not allowed.
Haven't yet played around with browserify, tsify, watchify, jspm, SystemJS, webpack - it's just too similar and too much, but I think one or a few of those tools could do the work for me.
And when I require(<a node module living in node_modules>), tsc cannot find the module: "TS2307: Cannot find external module 'moment'".
Concrete Questions

*

*Which module syntax should I use in my code to best work with Node and Browser?

*Which tool-chain will solve my requirements? Is there an example project or a boilerplate where I can copy from? (I'm open to Gulp as well, doesn't have to use Grunt).

*Which TypeScript and Node versions are currently supported? I'm having 1.4 embedded in IntelliJ, when referencing 1.6.2 as external I'm getting very deep cryptic error messages like "TypeError: host.fileExists is not a function" (not finding anything helpful about this). Maybe it's not optimal to use Node v4.1.1?

I'm sorry that this post is so complex. If necessary, just give me advise where to start or what is the most important thing to change or begin with.

A:
Which module syntax should I use in my code to best work with Node and Browser?

If you are targetting es5 then both syntaxes compile down to effectively the same thing. Use either, and feel free to mix and match.

Which tool-chain will solve my requirements? Is there an example project or a boilerplate where I can copy from

I use (and recommend) webpack. You get to use commonjs / nodejs as it is and then webpack can create bundles for front end. For a sample see https://github.com/basarat/tsb/tree/master

Which TypeScript and Node versions are currently supported? I'm having 1.4 embedded in IntelliJ, when referencing 1.6.2 as external I'm getting very deep cryptic error messages like "TypeError: host.fileExists is not a function" (not finding anything helpful about this). Maybe it's not optimal to use Node v4.1.1?

Use the latest TypeScript (various tools from TypeStrong e.g. atom-typescript/grunt-ts/ts-loader support that). The error you are getting is a webstorm error and should be reported to them. (I use atom-typescript).

A: I also have the TypeError: host.fileExists error with WebStorm 10 and a custom Typescript compiler (installed via npm).
However, this is fixed in WebStorm 11 (released Nov 2, 2015)
https://www.jetbrains.com/webstorm/download/

A: This is the way I got it using webpack and babel:
My index.ts file is inside the src folder
package.json
{
  "scripts": {
    "bundle-dev" : "rimraf dist && tsc --outDir dist/temp && webpack --env.development --display-error-details && rimraf dist/temp",
    "bundle-prod": "rimraf dist && tsc --outDir dist/temp && webpack --env.production  --display-error-details && rimraf dist/temp"
  },
  "devDependencies": {
    "@babel/core": "^7.11.6",
    "@babel/plugin-transform-reserved-words": "^7.10.4",
    "@babel/plugin-transform-typescript": "^7.11.0",
    "babel-plugin-transform-class-properties": "^6.24.1",
    "@babel/plugin-syntax-flow": "^7.10.4",
    "@babel/preset-env": "^7.11.5",
    "babel-loader": "^8.1.0",
    "esmify": "^2.1.1",
    "rimraf": "^3.0.2",
    "ts-loader": "^8.0.4",
    "ts-node": "^8.10.2",
    "typescript": "^3.9.7",
    "webpack": "^4.44.2",
    "webpack-cli": "^3.3.12"
  }
}

tsconfig.json
{
  "compilerOptions": {
    "module": "AMD",
    "target": "ES5",
    "declaration": true,
    "outDir": "dist/my-javascript-package",
    "moduleResolution": "node"
  },
  "exclude": [
    "node_modules"
  ],
  "include": [
    "src/**/*"
  ]
}

.babelrc
{
    "plugins": [
        "transform-class-properties",
        "@babel/plugin-syntax-flow",
        "@babel/plugin-transform-reserved-words",
        "@babel/plugin-transform-typescript"
    ]
}

webpack.config.js
const path = require('path');

module.exports = env => {
    const mode = env.production ? 'production' : 'development';

    const config = (target) => {
        return {
            entry: {
                index: './src/index.ts'
            },
            target: target,
            output: {
                path: path.resolve(__dirname, "dist/my-javascript-package"),
                filename: target+'.js',
                library: 'MyJavaScriptPackage',
                libraryTarget: "umd",
                umdNamedDefine: true,
                globalObject: 'this',
            },
            plugins: [
                new (require('webpack')).DefinePlugin({
                    'process.env.NODE_ENV': JSON.stringify(mode)
                }),
            ],
            mode: mode,
            resolve: {
                extensions: ['.ts', '.js', '.json']
            },
            module: {
                rules: [
                    {
                        test: /\.ts$/,
                        exclude: /node_modules/,
                        use: [
                            {
                                loader: "babel-loader",
                                options: {
                                    presets: [
                                        [
                                            "@babel/preset-env",
                                            {
                                                "targets": {
                                                    "browsers":["last 2 versions"],
                                                    "node":"current"
                                                }
                                            }
                                        ]
                                    ],
                                },
                            },
                            {
                                loader: "ts-loader",
                            },
                        ],
                    },
                ],
            },
        };
    };

    return [config('node'), config('web')]
};

Bundle it
npm run bundle-dev

or
npm run bundle-prod

Import
import {MyJavaScriptPackage} from "my-javascript-package/node";
//or
import {MyJavaScriptPackage} from "my-javascript-package/web"; // SPA example

References:

*

*https://itnext.io/how-to-build-and-publish-npm-packages-with-webpack-dea19bb14627

*https://webpack.js.org/concepts/

*https://stackoverflow.com/a/46633682/4508758

*https://stackoverflow.com/a/49639482/4508758

*https://stackoverflow.com/a/52092788/4508758

*https://stackoverflow.com/a/51737190/4508758

*and others

redpajama_set_name: RedPajamaStackExchange


text:
Grumpy Cat Dies: Internet Reacts to Loss of Beloved Pet That Spawned a Thousand Memes
By Sophia Waterfield On 5/17/19 at 7:07 AM EDT
People across the world have taken to social media to grieve the loss of internet sensation Grumpy Cat.
The feline, whose unimpressed expression led to the creation of thousands of memes, has passed away, it was announced on her official Twitter account. According to the post, Grumpy Cat died in the arms of her owner, Tabatha Bundesen, due to complications from a urinary tract infection.
The post was captioned, "Some days are grumpier than others…"
Some days are grumpier than others... pic.twitter.com/ws209VWl97
— Grumpy Cat (@RealGrumpyCat) May 17, 2019
Grumpy Cat's family posted a message breaking the news to Twitter:
We are unimaginible heartbroken to announce the loss of our beloved Grumpy Cat.
Despite care from top professionals, as well as from her very loving family, Grumpy encountered complications from a recent urinary tract infection that unfortunately became too tough for her to overcome. She passed away peacefully on the morning of Tuesday, May 14, at home in the arms of her mommy.
Besides being our baby and a cherished member of the family, Grumpy Cat has helped millions of people smile all around the world – even when times were tough. Her spirit will continue to live on through her fans everywhere - even when times were tough.
Her spirit will continue to live on through her fans everywhere.
Who Was Grumpy Cat?
Originally named Tardar Sauce, Grumpy Cat became an internet sensation after her photo was posted on Reddit on September 22, 2012. According to her official website, it had been suggested that the photo was doctored, so her owners took to sharing videos of her on YouTube, and the rest is history. Her petite size and sour expression were due to feline dwarfism.
A meme featuring Grumpy Cat. Know Your Meme
Grumpy Cat's Net Worth
It is estimated that Grumpy Cat was worth at least $1 million, although Bundesen has kept the exact amount a secret, according to Inside Hook. Grumpy Cat has over 8.6 million total followers on Facebook, 2.5 million followers on Instagram and 1.5 million followers on Twitter.
During her career she secured merchandise and advertising deals and even made a movie in 2014, Grumpy Cat's Worst Christmas Ever. Grumpy Cat also released a fragrance called Kitten Fur.
In 2018, Grumpy Cat won a lawsuit of more than $700,000 for copyright infringement of her image. She also made appearences at the MTV Movie Awards, on WWE Raw, Sesame Street and at the SXSW festival.
Tardar Sauce, aka Grumpy Cat, at the Mashable House during the SXSW Music, Film Interactive Festival in Austin, Texas, on March 6, 2013. Suzanne Cordeiro/Corbis
Reactions and Tributes to Grumpy Cat
Had the pleasure of meeting Grumpy Cat at a charity do once. She was surprisingly down to earth, and VERY funny.
— Twitch.tv/Limmy (@DaftLimmy) May 17, 2019
Goodbye @RealGrumpyCat 😢
You were a kindred spirit and you will be missed... pic.twitter.com/bTXpcHVpH8
— Simon's Cat (@SimonsCat) May 17, 2019
Internet celebrity animal #grumpycat has died. pic.twitter.com/Jk5MsP7qxk
— Mary Calvi (@MaryCalviTV) May 17, 2019
RIP Grumpy Cat. This is how I will remember you: being entirely unimpressed by excited BuzzFeed employees every time you came to the office cc @broderick pic.twitter.com/fSMiKS7Mqs
— Patrick Smith (@psmith) May 17, 2019
A 🌹 for @realgrumpycat , RIP 🥀 x
A post shared by Bleu💙 (@bleuthebritishblue) on May 17, 2019 at 3:16am PDT
RIP @realgrumpycat gOne but forever on my leg and in my heart ❣ tattoo by @bananaranax #grumpycat
A post shared by Christine Dougan (@queeniejbhair) on May 17, 2019 at 3:12am PDT
Fans have been expressing their grief on the Grumpy Cat subreddit.
"Rest in peace, sweet little angel. Thank you for all the laughs and memories you gave to the community. You will forever be remembered," wrote user parkerstark17.
"RIP sweet ball of fur
"RIP Tardar Sauce. You will always be the grumpiest cat," wrote user hyperionlore.
'Game of Thrones' Season 8 Memes
Tati Westbrook Breaks Silence on James Charles Drama—Again
Cats Are Left- and Right-Pawed Like Humans


See up-to-date Choudrant, LA foreclosed home listing prices and compare to online home valuations and recent Choudrant, LA home sales. Find a Choudrant, LA foreclosure real estate expert to assist with the purchase of a bank-owned foreclosure property.
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A very versatile holster, the Gould & Goodrich Ambidextrous Concealment Holster is able to be worn both outside or inside the pants with its durable steel clip or can be worn outside of the belt or between the belt and pants by sliding the belt through the specially cut slot. Constructed from genuine leather with a suede lined interior to protect the gun's finish. Universal holster fits most medium frame auto pistols and small frame revolvers.


text:
Sotheby's Announces Major Picasso Cubist Portrait for June Sales in London
Sotheby's is touting this Picasso work, Femme assise (1909), one of the last remaining cubist portraits in private hands, as a major consignment for the London sales cycle.
The work was previously bought in 1973, the year of Picasso's death, from Sotheby's for £304,000. That sum was no small figure in 1973.
When it comes back to market, Sotheby's will be expecting no less than £30m from the winning bidder. With the pound weakened by uncertainty surrounding the UK's participation in the European Union, buying power will be magnified.
Femme assise is among a small number of portraits from this series remaining in private hands, with most of the others held in prestigious international museum collections, including Tate Modern, London; Centre Georges Pompidou, Paris; The State Hermitage Museum, Saint Petersburg; Hiroshima Museum of Art, Hiroshima; The Museum of Modern Art, New York; Pola Museum of Art Kanagawa.
Last sold at auction in 1973 at Sotheby's in London, Femme assise has remained in a private collection for over forty years, during which time it has featured in some of the most important international exhibitions of Picasso's work, including key exhibitions on Cubism: Picasso and Braque: Pioneering Cubism at The Museum of Modern Art, New York, in 1989; Picasso: Sculptor/Painter at Tate Gallery, London, in 1994; and Picasso: The Cubist Portraits of Fernande Olivier at the National Gallery of Art, Washington in 2003-04.
Art Basel: The Aftermath
Study Inconclusive on Artist Resale Rights Effect on the Secondary Market in Europe
Freedman Settles with de Soles But Will Still Testify as Case Goes Forward Against Knoedler et al
Don't Believe the Hype
Christie's HK Asian Cont Day Sale = HK$160,028,250


Before I started this tutorial I turned the photo of a bird into a silhouette with a transparent background.
Open up the background and your item that you want to animate. I have a photo of a building, looking upwards into the sky as my background and a black silhouette of a bird in flight.
Click and drag the bird onto the background so they are both in one document.
With both the background and the bird now in one document select the layer with the bird and re-position it on the background so it is in the correct place and size for the animation.
To re-size use Apple T / Ctrl T. Press Shift whilst re-sizing to keep the object in proportion.
As we want to create the animation in a circle you will want to imagine positioning the bird on the edge of the circle.
Duplicate the bird layer in the layers palette. To do this make sure the original bird layer is selected and Apple J / Ctrl J.
With the new layer selected rotate it by 180 degrees. You can do this with the transform controls Apple T / Ctrl T and either use the mouse to turn the object or use the angle input in the tool bar at the top of the screen.
With the same layer selected use the move tool to drag the new layer into position.
By pressing shift as you drag the new layer it will stay in line. Newer versions of Photoshop will highlight the alignment as you move the layer. This layer should be directly opposite the original on the imaginary circle that you wish to create.
Select both layers in the layers palette and duplicate both layers. To do this select the first layer and press ctrl whilst selecting the 2nd layer and then click and drag on either layer to the new layer icon at the bottom of the layers palette.
The new layers will appear above the originals.
With the new layers selected use the Transform tools and rotate the layers 90 degrees.
Now select all 4 layers and duplicate again.
You should now have 8 layers with the top 4 layers selected.
As I want to have an animation that rotates through each 30 degree angle I am going to rotate the last 4 layers created by 30 degrees. You should now see something similar to the below graphic.
Duplicating the last 4 layers again and using the transform tools to rotate by another 30 degrees will give you all the stages of the animation.
You should now have something similar to the below with 12 layers / items on top of your background layer.
To make things a lot simpler to animate I re-organise my layers at this stage.
To see which layer is which, toggle the visibility icon on each layer and rename them by double clicking on the layer name in the layers palette. I've re-named them based on the angle as shown above.
With all the layers renamed. Click and drag the layers into numerical order within the layers palette. This is all to help speed up the process when it comes to creating the animation.
As a last step before animation you need to make sure your elements for animation are in the correct position. I wanted the whole lot a bit smaller in comparison to the background image. To do this select all the layers of birds in the layers palette and use the transform tools whilst pressing shift to keep everything in proportion.
When you are completely happy with the size and position of your graphics. Open up the timeline Window. Go to > Window > Timeline.
This will open up a Timeline window at the bottom of the screen that looks similar to below.
There are 2 different methods of creating animations, for this I've chosen to create a frame animation. In the new version of Photoshop, I selected this from the drop down in the centre of the palette. In older versions it may be on the timeline method by default and you can change to frame animation by clicking on an icon within the palette that looks like 3 squares together.
Your first frame will show all the layers you have switched on.
For the 1st frame you will just want the background and the first bird labelled '0', so you can turn off the visibility of the other layers.
Your canvas will reflect these changes and look similar to the below.
To set the speed of the frames, click on the time shown on the 1st frame – I've changed mine to 0.5 seconds.
Duplicate the frame. Drag your first frame to the 'New frame icon'.
With the 2nd frame selected, change the visibility of your layers so the 1st bird '0' is no longer showing and the next bird in the circle '30' is.
Keep duplicating the layers and choosing which layers need to be shown on each. It is important this is done in order as if you go back and edit a frame, the change is then carried forward across the later frames.
If you want the animation to play continuously rather than a set number of times. Select 'Once' at the bottom left of the timeline and choose 'Forever'.
You can see how this will look within Photoshop on the canvas by pressing play on the timeline.
Below is my animation at a speed of 0.5 for each frame.
To make changes to the speed you can select all frames by selecting the first frame and then the last frame by pressing shift and then changing the speed on the drop down on one of the frames and this will change across them all. I've sped up the animation by choosing a time of 0.25.
I decided that I wanted the animation to be smoother, to do this I added in more frames with more bird rotations.
The final animation had 24 frames, all at 0.25 seconds with birds rotated to every 15 degrees.
I've been looking for circling object animation lately and then found it here. Very helpful tutorial, especially now i know how to set the object angle to get more interesting and alive motions.


The Sail Orion Crew will generate your personalized Float Plan and email it to you. Great for sharing with your crew at a planning party!
You can also use BVI Mariner to create a Float Plan as well as review those of others to get ideas for your trip.
Thank you! We will return your customized Orion Float Plan to you in a few days.
BVI Mariner is an online community established and maintained by the Sail Orion Crew to assist charterers with their BVI experience. As a reference, it offers the most accurate, up-to-date information for BVI Mariners thanks to our loyal contributors.
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Bonfire Stories: Heartless
Bridge to Another World: Through the Looking Glass
Queens Quest 5: Symphony of Death Collector's Edition
Queens Quest 5: Symphony of Death
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Mystery Case Files: Hotel Victory
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Tangled Stories: Fatal Love
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The Legacy: Prisoner
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Delicious: Emily's Road Trip Mouse Locations
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Solitaire Beautiful Garden Season Gameplay
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Enchanted Kingdom: Arcadian Backwoods Game Download
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Litla Dimun is a small island between the islands of Suouroy and Stora Dimun in the Faroe Islands. It is the smallest of the main 18 islands, being less than 100 hectares (250 acres) in area, and is the only one uninhabited. The island can be seen from the villages Hvalba and Sandvik.


I've been lucky enough to spend some time with Draplin and even once commissioned him to create the identity for the now defunct Red Pop. I love how he talks about what he does and the enthusiasm he has for the craft of design. We need more people in the world like Aaron Draplin.


text:
<!DOCTYPE html>

    <meta http-equiv="Content-Type" content="text/html; charset=utf-8"/>
    {common_head}

redpajama_set_name: RedPajamaGithub


Malaysia Art, A New Perspective is a publication that documents both group exhibitions held in the gallery's Singapore and Kuala Lumpur spaces in January 2015. Curated by Richard Koh, the exhibitions introduced an eclectic range of work by emerging and established Malaysian artists such as Gan Chin Lee, Haffendi Anuar, Hasanul Isyraf Idris, Justin Lim, Liew Kwai Fei, Phuan Thai Meng, Raduan Man, Saiful Razman, Tan Wei Kheng, Wong Perng Fey and Yeoh Choo Kuan and showcased a plethora of artistic sensibilities that have in many ways been side-lined by local institutions and collectors. This publication features an introduction by Richard Koh, artist statements by each of the artists and colored images.


text:
Q: How to get last 30 min reocrds for last 30 days transactions in SQL Server -PIVOT? I am able to get the last 30 days of transactions hourly wise, however, would like to get the records for every 15 min. Below is the code what I am using.
Seeking help on below :

*

*How to make this report every 15 min?
How to get the sum and average of transactions in the attached sample (Ex: I would like to get a daily average of transactions)

*How to get an average transaction on an hourly basis. (Ex: at 10 AM what is the average transactions on all days).

Thanks in advance for your help.
SELECT *
FROM
    (SELECT
         CAST(DateAdded AS DATE) [Date],
         DATEPART(hour,DateAdded) [Hour],
         COUNT(1) [number of Transactions]
     FROM
         [tablename]
     WHERE
         Text LIKE '%ABC%')
GROUP BY
    CAST(DateAdded AS DATE), DATEPART(hour,DateAdded)) AS StartTime
PIVOT
    (SUM([number of Transactions])
          FOR [Hour] IN ([0], [1], [2], [3], [4], [5], [6], [7], [8], [9],[10],[11], [12], [13], [14], [15], [16], [17], [18], [19], [20], [21], [22], [23])
    ) AS DatePivot
ORDER BY
    Date


text:
The second season of StarDance (Czech Republic) debuted on Česká televize on November 3, 2007. Eight celebrities were paired with eight professional ballroom dancers. Marek Eben and Tereza Kostková were the hosts for this season.

Couples
The ten professionals and celebrities that competed were:

Scoring Chart

Red numbers indicate the lowest score for each week.
Green numbers indicate the highest score for each week.
 indicates the winning couple.
 indicates the runner-up couple.
 this couple withdrew from the competition

Average score chart
This table only counts for dances scored on a 40-point scale.

Highest and lowest scoring performances
The best and worst performances in each dance according to the judges' 40-point scale are as follows:

Couples' highest and lowest scoring dances
Scores are based upon a potential 40-point maximum.

Dance chart
The celebrities and dance partners danced one of these routines for each corresponding week:
 Week 1: Cha-cha-cha or waltz
 Week 2: Rumba or quickstep
 Week 3: Jive or tango
 Week 4: Paso Doble or Slowfox
 Week 5: Samba
 Week 6: One unlearned dance
 Week 7: One unlearned dance
 Week 8: Couples' choice and freestyle

 Highest scoring dance
 Lowest scoring dance
 Not danced

External links
 Official website

2
2007 Czech television seasons


Producer: Ann Angala Shy / Luis Gabriel Reyes / Jireh Lim Director: Here's an official music video of Jireh Lim's Magkabilang Mundo (c) Don't forget to. Jireh Lim, Dasmariñas, Philippines. likes · talking about this. For booking inquiries, Contact us at: () 21k Followers, Following, Posts - See Instagram photos and videos from Jireh Lim (@jirehlim).
Where people listen. Quezon City, PH74, LISTENERS; Makati City, PH29, LISTENERS; Manila, PH20, LISTENERS; Quezon, PH18, LISTENERS. Jireh Lim lyrics with translations: Magkabilang Mundo, Buko (Buhay Ko). Lyrics translation requests. Get all the lyrics to songs by Jireh Lim and join the Genius community of music scholars to learn the meaning behind the lyrics.
Jireh Lim (Live) - EP. Pieces Of Me - Single. Share Your World - Single. Pananagutan - Single. Ngayong Pasko - Single.


Trophies and plaques are essential tools to award individuals. Trophies are important for acknowledging and appreciating the goals achieved by a team or an individual. There are countless other alternatives that can be used for awarding but none can compare the worthiness of a trophy. You can find variety of trophies out there. The ones made of glass hold most popularity. Glass trophies are both trendy as well as graceful. Irrespective of the award type Authentic Clay Matthews Jersey , they form an ideal rewarding tool. Read on to know why glass prizes are always worth considering.
Now, glass engraved trophies come with a renewed form because of modern technology. Not only the engraving process has turned out to be easier but their attractiveness value has also enhanced. Moreover, the introduction of laser graving has further enhanced the value of these trophies. You can expect deep etchings and accurate engraving. Earlier engraving was possible only on metal materials, but with innovative laser technology now, glass and crystal trophies can also be engraved with perfection.


A: Cutting lawns for the Town of Canmore for about $6/hour.
A: Electronic music, or "techno" as some call it.
A: Yes, I could probably name a bunch of supermodels here, who I really know very little about... but I think Gabor Maté would be an interesting cat to hang out with. There would never be an end to the conversation. We could psychoanalyze each other until the coconuts came home.
A: How to Get Past Social Anxiety, Ageism, and Other Fears, and Start Attending Electronic Music Dance Parties with Impunity!
A: Stop Procrastinating... NOW! Not later, NOW!
A: Musician. Or maybe stand-up comedian.


text:
01-Mar-1970 Richmond,VA Vcu Gym,USA
DUMMY DATE. Probably not played in this month, but in November 1969 (see)
27-Mar-1970 Richmond,VA Hullabaloo,USA
Steve Van Zandt has replaced Vinnie Roslin on bass by this date. ONE show, with STEEL MILL the sole act on the bill. This is the earliest verified gig to feature new member Steve Van Zandt on bass. Van Zandt had been lead guitarist in THE SHADOWS (66-67), lead vocalist-guitarist in THE SOURCE (67-69) and a brief member of THE JAYWALKERS (69-70) prior to joining Steel Mill. He was not a bass player so he had to fast track his skills on the instrument. By 1970 the once-hip national chain of Hullabaloo clubs had veered off into a decidedly top-40 disco direction, far removed from the progressive rock of Steel Mill. MERCY FLIGHT lead guitarist Tom Yolton has commented: "when the word came out that Steel Mill was playing there everyone said, Where? Hullabaloo, where the hell is that? It turned out it was a well away from the VCU campus. It was a club with mirrors on the walls. I remember asking someone in the band about it later and getting some reply like..Oh man did that suck...nobody was there...they wanted us to play dance music"
ONE show, with STEEL MILL (featuring new band member Steve Van Zandt on bass) the sole act on he bill.


text:
layout: page
title: Sail Inc. Dinner
date: 2016-05-24
author: Jesse Bell
tags: weekly links, java
status: published
summary: Sed bibendum, metus et aliquam maximus, nunc nisi.
banner: images/banner/meeting-01.jpg
booking:
  startDate: 08/06/2017
  endDate: 08/07/2017
  ctyhocn: GPLOHHX
  groupCode: SID
published: true
---
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1 Duis non nisl non nibh volutpat maximus vitae vel mi
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text:
India's rising economic power
Jul 28, 2021 • James Mawson
Venture capital funding for Indian firms hit a six-year high of $12.1bn in the first six months of 2021
While immediate attention is on China's latest crackdown of sectors, such as tech and education, and the ability for foreign investors to back them or even if they can make profits, there is greater optimism in another rising economic power: India.
India-based sports-focused Rhiti Group has collaborated with local cement maker Kanodia Group to launch venture capital firm Deep Pockets Capital Venture.
"India is on the cusp of a revolution in technology, including artificial intelligence (AI) and blockchain, which are set to revolutionise agriculture, finance and entertainment in coming years," according to Rhiti Group Chairman Arun Pandey in the Economic Times of India.
Venture capital funding for Indian firms hit a six-year high of $12.1bn in the first six months of 2021, according to Venture Intelligence, many of them by foreign investors.
Tiger Global has struck almost 170 deals in India since 2006 with 29 so far this year, according to PitchBook data, under a strategy by key executives such as Lee Fixel, alongside other corporate investors, such as Naspers (now called Prosus), and Chinese peers, such as Xiaomi, Tencent and Alibaba.
In 2014, Tiger and Prosus helped lead a $1bn investment in Indian ecommerce group Flipkart, at a valuation that represented a three to four times multiple of the company's sales, according to the Financial Times in its profile of Tiger.
And exits are starting to flow following the seminal $16bn acquisition of a majority of Flipkart by US peer Walmart three years ago. The successful listing of food delivery service Zomato and expected bumper initial public offerings of payments provider Paytm, insurance aggregator Policybazaar, bueaty retailer Nykaa and delivery company Delhivery. Even Flipkart could reportedly come to the public markets as soon as this year after its latest $3.6bn round.
But India's regulators favour incumbents and the risks remain that a change in approach to international investment could collapse sentiment in the way the FT reported that SoftBank Vision Fund's bet on China-based ride hailing service Didi Chuxing had fallen $4bn into the red after the past few weeks since its US listing was subsequently attacked by the authorities.
The Economist this week warned these investors might struggle. Local corporate investors, however, are waking up to the possibilities.


text:
Q: how to print single value of data set conn = new SqlConnection(@"Data Source=ASHISH-PC\SQLEXPRESS; initial catalog=bank; integrated security=true");
ada = new SqlDataAdapter("select total_amount from debit_account where account_no=12", conn);
ds = new DataSet();

ada.Fill(ds);

Now, I want to print value of the dataset... how? Please help me.

A: I'd suggest that the best option here isn't actually a SqlDataAdapter and DataSet, but rather a SqlCommand. Try this:
using(SqlConnection conn = new SqlConnection(@"Data Source=ASHISH-PC\SQLEXPRESS; initial catalog=bank; integrated security=true"))
{
    conn.Open()
    using (SqlCommand command  = new SqlCommand("select total_amount from debit_account where account_no=12", conn)
    {
        var result = command.ExecuteScalar();
        Console.WriteLine("The total_amount for the account is {0}", result);
    }
}

The ExecuteScalar() method on SqlCommand returns the value in the first column of the first row that your query returns, which is ideal in this situation.
If you absolutely have to use a dataset then you'd want to do the following:
using(SqlConnection conn = new SqlConnection(@"Data Source=ASHISH-PC\SQLEXPRESS; initial catalog=bank; integrated security=true"))
{
    conn.Open()
    using (SqlDataAdapter adapter = new SqlDataAdapter("select total_amount from debit_account where account_no=12", conn)
    {
        var ds = new DataSet();
        adapter.Fill(ds);
        Console.WriteLine("The total_amount for the account is {0}", ds.Tables[0].Rows[0][0]); // Get the value from the first column of the first row of the first table
    }
}

Note: I've wrapped both examples in the C# using statement, this ensures that all your database resources are cleaned up so you don't have any problems with with leaking unmanaged resources. It's not particularly difficult or complicated so is well worth doing

A: I think, in this case, you'd be better off (performance-wise) to use a SqlCommand instead of the adapter and dataset, and invoke the ExecuteScalar method.
See http://msdn.microsoft.com/en-us/library/system.data.sqlclient.sqlcommand.executescalar.aspx
If you must use the data set, however, ds.Tables[0].Rows[0]["total_amount"] should retrieve your value. You will probably need to type cast the value, though.


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We plant the seed, we follow up, we enhance and build strong roots to support the growth that every brand desires. We create the naming, produce the logo and all the corporative identity, we register the brand and develop all kinds of means to communicate to the world that your brand exists.
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text:
A C Grayling's five reasons why the UK must ignore vote
Published: 8:32 PM August 23, 2016 Updated: 6:09 PM September 17, 2020
A C Grayling - Credit: Archant
There are five fundamental points that have to be repeated without cease until the folly of 'Brexit' is reversed and the United Kingdom's membership of the European Union is reaffirmed. Each point is obvious to Remainers, and has been clearly stated and restated already: but the point is to keep stating them all until everyone – but especially our parliamentarians – is repeating them in his or her sleep.
The first is that the June 23 referendum was not a democratically binding decision on EU membership. It was held under the terms of the (poorly drafted) 2015 Referendum Act as an explicitly advisory referendum – a test of opinion – only. The fact that a number of MPs regard the decision as binding is astonishing for a number of reasons, but the first of them is that not only was the exercise intended as advisory, it is also obvious from a consideration of the numbers involved that it provides no mandate for the UK government to take the country out of the EU. For: 51.9% of those who voted, in a turnout of 72%, represents 37% of the electorate, and less than a third of the UK population. Let us leave aside the fact that in all other mature democracies a referendum considered as having mandating status would require a supermajority – typically a two-thirds majority – and ask whether a Remain vote of that size would have put an end to Leave aspirations. We know from the record that it would not; Nigel Farage of UKIP publicly committed himself to regarding so small a majority of those voting as by no means settling the matter. As that correctly suggests, the referendum result is in no way a mandate.
The second point follows. Prior to the referendum it was known that 76% of MPs and 85% of members of the House of Lords were in favour of remaining in the EU. This was presumably because they thought the best interests of the UK are served by so remaining. Given this, given the extremely important fact of parliamentary sovereignty, and given the advisory-only nature of the referendum, it is an open and shut case that if members of parliament are to act in the best interests of the whole country and its future as they say they see it, it is clear that they should determine that the UK is to remain in the EU.
Of course the various and often contradictory reasons motivating different groups on the Leave side of the equation should be studied and addressed, but not by accepting Leave's own 'solution' to those various concerns, viz. the inchoate and plan-less abandonment of EU membership.
The third point is that this is not only the logic of the majority view of parliamentarians in both Houses, nor that it is in the obvious best interests of the country, as those parliamentarians themselves think, but more: it is their democratic duty and responsibility to reaffirm continuation of the UK's EU membership because they so think. They subvert our representative democracy and our constitution if they choose to treat an advisory referendum as usurping their duty and the sovereignty and duty of the parliament in which they serve. There is a powerful justification for this claim, as follows.
A representative democracy has two fundamental features: First, those elected to serve in parliament are representatives, not delegates; they are sent to think, examine, debate and decide on behalf of their constituents, and they have plenipotentiary powers to do so. Representative democracy is structured to ensure that decisions on complex and consequential matters are not arrived at in uninformed, hasty, emotional and populist ways, such as you expect from a referendum on a simple yes-no question. A representative democracy is precisely not a 'direct democracy' because the latter is too likely to behave as an ochlocracy.
Second, MPs and the decisions they reach are recallable. This is of the essence of democracy. It is this that constitutes the electorate's continuing control of the democratic process. At the next election, if an MP has not done well in the eyes of his or her constituents, or if the government has not done well in the eyes of a plurality of the electorate, they can be replaced at the ballot box. They have given explicit undertakings on policy and legislation, and can be held to account for the outcomes. Elections are held periodically, at no greater interval than five years. The time frame and the recall principle are essential to the democratic process.
A referendum is utterly different. It is not recallable, at least within a generation. What follows a referendum is therefore not under the democratic control of the electorate. It is a one-off throw of the dice. This is exactly why, even in the poorly-drafted 2015 Referendum Act, the reservation was made that the outcome would be advisory only.
The final decision belongs to parliament. If it resigns its power to decide, yielding it to a mistaken view about a 'mandate' having been given by the June 23 referendum, it would be failing in a serious and historical duty.
The fourth is that the extended period of uncertainty which faces the UK given that no-one had any idea of the consequences, complexities, timescale and impacts of Brexit, is already damaging the economy, with great risks to the financial and services sectors, manufacturing, and specialist sectors such as higher education and scientific research and development. A responsible government would seek to remedy this. Knowing the view of both Houses of Parliament and of almost all expert opinion in the country, it has it entirely within its competence to state that, as the referendum was a test of opinion only, it is not minded to take the UK out of the EU, and that it therefore affirms the UK's continuing membership of the EU.
The fifth is that in examining the circumstances of the referendum, the government and Parliament should take very seriously the following considerations. Those who (like the majority of Parliamentarians themselves) were for Remain had a clear idea of why they were so: the facts, the realities, are open to view. However imperfect the EU, however much a work in progress it is, membership allows contribution to that work in progress, and the fact that the UK is affected by the EU whether it is in it or out of it makes it plainly rational to be in it and so to continue to influence it.
This point leaves aside the very many and palpable benefits of membership, and the importance of continued membership to the future of the UK. But those who were for Leave had many and various reasons for taking their view, reasons that are contradictory and paradoxical. There was no single, informed, worked-out and prepared view; there was mere demagoguery and sentiment, and alas much of that sentiment was xenophobic verging on racist.
The Leave campaign left a great deal to be desired in the way of honesty and probity, and the distorting influence of 40 years' worth of hostility to the EU on the part of the tabloid press, are material matters.
Added to this, the small Leave majority was achieved by English voters, thus placing many constituencies – Scots, Ulster, Gibraltarians, to say nothing of the younger and more educated demographic everywhere in the UK that championed Remain – in the position of having to argue the rational case against a non-rational one. And as everyone knows it is a challenge to reason people out of views that they were not reasoned into.
The poor drafting of the 2015 Referendum Act is a material factor likewise. If there was any risk of it being misunderstood that it was advisory only, a supermajority should have been stipulated. For a massively consequential constitutional change such as Brexit involves, nothing less than a two-thirds majority should be mandatory. The voting age should have been 16, since the younger generations are the most affected. British ex-pats should not have been disenfranchised on the grounds that they had lived abroad for longer than a certain period: that is an assault on their right as nationals. As it was indeed an advisory referendum, there should have been a variety of questions exploring whether further discussion with the EU on key issues would have satisfied some concerns about the nature of membership. In short, the simplistic 'in-out' question and the restricted nature of the permitted constituency represent major problems.
It is precisely the point of representative democracy that it exists, and is so structured, to take these considerations into account, to apportion proper weightings to them, to see the bigger picture – and to decide accordingly. It is without question that judiciousness of this kind would conclude that an affirmation of the UK's continued membership of the EU is both right and necessary.
Professor Anthony Grayling, is a philosopher and Master of New College of the Humanities