17 November 2011, 11:11 a.m.
The annual 'State of Endpoint' study, carried out by the Poneman Institute for endpoint management and security specialist Lumension, found that the number of companies that felt their IT networks were not more secure than a year ago has increased over the past two years to just under two thirds.
The research indicated that 'inadequate collaboration and lacking resources for security create a perfect storm for hackers to capitalise on'.
Despite malware attacks continuing to increase in frequency and sophistication, IT departments were not collaborating with security to formulate centralized plans for the enterprise network, it said.
"Probably most surprising this year is the fact that malware attacks continue to increase for the third-consecutive year, yet IT's concern in this areas is decreasing and they aren't spending their budgets on basic malware prevention strategies, nor are they collaborating with security to formulate centralized plans for the enterprise network," said Larry Ponemon, chairman and founder at the Poneman institute.
Malware continues to be a threat and operational cost driver for IT, but their ability to reduce it is being challenged as the focus shifts to enabling business productivity with less cost.
31% of respondents noted a major uptick in the frequency of malware incidents over last year with 43% estimating that they deal with more than 50 malware attempts on a monthly basis. This equates to nearly two intrusions per day.
23% of organizations expressed that zero-day attacks are there biggest headache with targeted attacks coming in a close second at 22%.
Third-party applications were ranked number one in terms of "most concerning" risk, yet only 23% of respondents consider patch and remediation as a "top five" risk mitigation strategy.
Concern for securing mobile devices and platforms saw a huge jump from nine% in 2010 to 48% in 2011.
Concern over negligent insider risk has been consistent over the past three years with 43% of organizations polled seeing this as the greatest risk moving into 2012.
New worries over cloud computing infrastructure risk also jumped from 18% in 2010 to 43% in 2011, and while most anticipate their use of cloud will increase, 41% of those surveyed said they do not have a security strategy in place for assets stored in the cloud.
More than 72% of respondents reported their organizations will see an increase in the use of social media applications in 2012.
Overall security budgets remain as one of most concerning items for 2012 (32%) and 40% of respondents said collaboration between security and IT is poor and/or non-existent.
25% respondents said their budgets would increase in 2012, yet respondents showcased concern over insufficient collaboration with business operations (16%) and the lack of an organizational wide security strategy (13%).
48% of respondents said collaboration between IT operations and IT security could be improved.
As the use of Mac products become increasingly common in the workplace, mistrust in their invulnerability to malware grows – 85% say they are very concerned or increasingly concerned.


text:
Forensic Accounting – Schedule 8 Claims
Schedule 8 claims are a specific form of business interruption involving accidents which take place on the British rail network infrastructure.
Our team of forensic accountants has developed specialist expertise in the consideration of financial losses in Schedule 8 claims, this being the mechanism which governs the penalties paid to / by Network Rail and the Train Operating Companies (TOCs), as a result of late running train services caused by train disruptions on the British rail network.
Forensic Accounting Services – Call 01902 393 940
Schedule 8 forms part of the Track Access Agreements, between Network Rail and the TOCs, and relies on specialist, highly evolved software, to assess the effects of a liability incident on the rail network, and the subsequent financial losses to Network Rail arising from the rail disruption.
Schedule 8 Claims
Our experience in this regard allows us to re-model the rail disruptions claims presented by Network Rail and consider such, in detail, to ascertain whether they are pleaded correctly and to restate them where we consider that they have not been.
We can provide a range of services to assist you to meet your requirements in considering the financial losses presented under Schedule 8 claims by Network Rail.
For more information about how we can assist in quantifying financial loss in relation to Schedule 8 business interruption contact a member of our on 01902 393 940.
Alternatively you can send an email to info@williamklien.com

redpajama_set_name: RedPajamaCommonCrawl


text:
Trulli to sue Caterham's Fernandes
"He owes me a lot of money"
Jarno Trulli has announced plans to sue Caterham team owner Tony Fernandes.
At the end of 2011, with a firm contract for 2012, the Italian reportedly agreed to vacate his race seat to make room for the well-funded Russian Vitaly Petrov.
But Trulli, now 38, says Fernandes promised to pay him in full for 2012.
Italy's Autosprint says Trulli is angry with Fernandes for not paying him, since the Malaysian entrepreneur has not only increased Caterham's budget, but also that of his English football club Queens Park Rangers.
"I'm going to sue Fernandes," he is quoted as saying, "because he owes me a lot of money.
"My career in formula one ended because I agreed to give up my place, because I was assured that the team would fulfil its contractual obligations.
"To date, this has not occurred," added Trulli, a veteran of over 250 grands prix.
Massa, Maldonado to be fit for Canada
2014 McLaren-Mercedes deal 'not pleasant' - Wolff


text:
Painted is the debut studio album by American singer Lucky Daye. It was released on May 24, 2019, by Keep Cool Records and RCA Records. The album was broken up into two EP's, a part of a series to lead up to his debut album.

The album received a nomination for Best R&B Album at the 62nd Grammy Awards, while the album's lead single "Roll Some Mo" received nominations for Best R&B Song and Best R&B Performance. Album cut "Real Games" received a nomination in the Best Traditional R&B Performance category. In honor of the album's first anniversary, a deluxe edition of Painted was released  in May 2020 including new mixes and alternative versions of previously released songs as well as four new tracks.

Background

After he previously competed on American Idol during Season 4 in 2005, at age 19, Daye established himself as a songwriter and background vocalist and landed credits in 2008 on songs by Keith Sweat on his album Just Me and Ne-Yo on "She Got Her Own". During this time, he briefly went under the alias of "D. Brown." In 2014, he wrote for Boyz II Men on the song "Believe Us". During 2016 and 2017, he co-wrote songs released by Keke Palmer ("Enemiez"), Ella Mai ("10,000 Hours," "Down"), Trey Songz ("Song Goes Off"), and two tracks from the album Strength of a Woman by Mary J. Blige, among other contemporary R&B artists.

In October 2018, Daye announced that he signed to Keep Cool Records and RCA Records, and released his first single called "Roll Some Mo". On November 9, he released his first EP titled I, which is part of a series leading up to Painted.

On January 17, 2019, Daye released the first single from the second EP in the series called "Karma". On February 6, 2019, he released the second installment of the EP series, II. He is slated to go on tour with Ella Mai beginning in February 2019.

All of the songs were written by Lucky Daye, and were executive produced by D'Mile, recorded in 2018. Of the 15 they finished, 13 appear on the album. To promote the album, he released two EP's with segments of the album: I on November 9, 2018, and II on February 6, 2019.

Singles
In October 2018, Lucky Daye announced that he was signed to the RCA joint venture Keep Cool, and released his first single called "Roll Some Mo". On January 17, 2019, Lucky Daye released the second single called "Karma". "Love You Too Much" was released as the third and final single on April 25, 2019.

Track listing

References

2019 debut albums
RCA Records albums
Albums produced by D'Mile
Lucky Daye albums

redpajama_set_name: RedPajamaWikipedia


text:
St Cyprian's Scottish Episcopal Church
Lenzie, Glasgow, Scotland
Welcome to St. Cyprian's Church Website
Cyprian Life 2020 Archive
Mothers Union
Rector's Blog
Marriage at St. Cyprian's Church
Streamed worship
Streamed worship service order for Sundays in the period called "Trinity" or "Pentecost" – this year from the end of May through to Advent.
Diocese of Glasgow and Galloway Advent Quiet Day
Cyprian Life
Cyprian Life is the news magazine of St Cyprian's. It is usually published every two months at present. The current issue in Adobe Reader PDF format can be downloaded by clicking the link below.
If you view Cyprian Life with the latest edition of Adobe Reader you can see it as it would look in the printed magazine by going to the View menu (top of the window) and selecting Page Display > Two Page View.
February & March 2023 issue (5.11MB)
December 2022 & January 2023 issue (3.48MB)
November 2022 issue (2.72MB)
September & October 2022 issue (2.05MB)
July & August 2022 issue (1.44MB)
May & June 2022 issue (1.98MB)
April 2022 issue (2.49MB)
St Cyprian's Gift Aid Form (173kB)
Previous issues of the magazine are archived by year can be downloaded from the year's Cyprian Life Archive page accessible via the submenu to the Publications tab above.
If you do not have Adobe Reader it can be downloaded free from www.adobe.com
The Link is the weekly service sheet available in church each Sunday. It contains details of the services including hymns and readings for the 10.30am service and the latest information about events at St Cyprian's. Recent issues in PDF format can be downloaded from the Link website by clicking here.
St Cyprian's Leaflet
We have a colour leaflet describing the church. It can be viewed by clicking here (1.8MB). For a higher resolution version clicking here (5MB).
St Cyprian's 1873-1973
This booklet, originally produced to mark the centenary of St Cyprian's in 1973, is now available in pdf format. It can be viewed by clicking here (1.01MB).
War Memorials at St Cyprian's
This publication was produced by The Scottish Military Research Group in August 2016. It describes the World War 1 and World War 2 war memorials in and around St Cyprian's. It can be viewed by clicking here (2.9MB).
St Cyprian's Constitution
The constitution was last updated in 2009. The current document is available to view by clicking here (0.3MB).
St Cyprian's Link Website
Diocese of Glasgow & Galloway
Scottish Episcopal Church
SMRG – St Cyprian's WW1 memorials
St Cyprian's Signup
Sign-up for our emails (*indicates required entries).
*Please choose what you would like us to inform you about:
Weekly Link
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St. Cyprian's Church, Lenzie
Beech Road
Lenzie
Glasgow G66 4HN


text:
Tuesday, August 11, 2009 at 7:30 pm
V.I. Pudovkin's Mechanics of the Brain
Mechanics of the Brain
V.I. Pudovkin, 1926, 64 mins
Presented by Annette Michelson
The year 1926 represents a privileged moment of the young Soviet film industry, with Eisenstein, Pudovkin, Kuleshov, Vertov, Barnet, Room, Kozintsev and Trauberg all represented by important work—and some, including Pudovkin, with more than one.
But Mechanics of the Brain, Pudovkin's first film, was like no other. Interrupted on this project by work on The Mother, his extremely successful first major film narrative, Pudovkin returned later that year to complete his documentary on the theory and practice of Pavlovian reflexology. This film is of especial interest in a number of ways: first, as a clear indication of the importance of this filmmaker's primarily scientific training and work experience, something we see in his texts on filmmaking and film acting which were to serve as a bible for successive generations of filmmakers, well beyond the borders of the USSR. Of more general importance is Mechanics' role in the establishment of reflexology as the official base of psychology and psychiatry in the USSR, and its anti-psychoanalytic character. And of particular interest is the show-and-tell form of the demonstrations—compelling, and, in fact, disturbing. For the subjection of patients to Pavolvian technology and method generates images that recall, in their strangeness, certain aspects of Surrealist imagery—the work of Max Ernst in particular. This film that begins as a demonstration of scientific method develops in its appropriation of technology the aspect of a horror feature. — AM
Annette Michelson is Professor Emeritus of Cinema Studies at New York University. Her research addresses issues of practice and theory within the various forms and periods of the cinematic avant-garde. She is a founder of the journal October as well as of October Books and editor of October: The First Decade. Professor Michelson has introduced and edited Kino-eye: The Writings of Dziga Vertov and Cinema, Censorship, and the State: The Writings of Nagisa Oshima. Among her other publications are studies of Marcel Duchamp, Joseph Cornell, Andy Warhol, S.M. Eisenstein, Jean-Luc Godard, and Jean Renoir. She is a co-author of The Art of Moving Shadows for the National Gallery of Art.


You are visiting the placeholder page for Lynn Austin. This page is here because someone used our placeholder utility to look for Lynn Austin. We created this page automatically in hopes Lynn Austin would find it. If you are not Lynn Austin, but are an alumni of Duluth East High School, register on this site for free now.


You'll discover countless relics which tell the story of the Julia Creek's pioneering past at the Duncan McIntyre Museum. See fossils from the Eromanga Sea dating back some 110 million years. Julia Creek has a proud wool producing history which you can learn more about at the Museum. Those of us who simply can't walk past vintage trucks will enjoy the display of decommissioned machinery. Entry is free.


Have you sold your old house but want to take your shed with you to your new house?
Have you decided that your shed would look or function better in a different location within your yard?
Have you decided to buy a used shed from somebody and you need it moved from their location to yours?
Have you decided to sell or give your shed to somebody but have no way of transporting it to them?
If you are thinking about or are currently in the middle of any one of these scenarios, call us. We can help you.
We have the proper equipment and know-how to safely and skillfully move your shed. John and Bob will personally inspect the structure and location sites to insure that the shed can be safely moved. Once that is determined, we will schedule a convenient time to perform the work.
Call us at 401.228.3995 for more information on how we can help you safely and securely move your shed to its proper location.


10 : What is the significance of the gold fringe which we see on some American flags?
A: The Flag Code states it is the universal custom to display the flag only from sunrise to sunset on buildings and on stationary flag staffs in the open. However, when a patriotic effect is desired, the flag may be displayed twenty-four hours a day if properly illuminated during the hours of darkness. (ref: Flag Code6(a)) The American Legion interprets "proper illumination" as a light specifically placed to illuminate the flag (preferred) or having a light source sufficient to illuminate the flag so it is recognizable as such by the casual observer.
A: There are currently no penalties for the physical desecration of the flag. The American Legion and othermembers of the Citizens Flag Alliance, (search "Site Map") continue working towards securing a Constitutional amendment to protect the flag from physical desecration.


This walnut sideboard for H. Sacks & Sons of Massachusetts shows Paul McCobb's exacting selection of materials and attention to detail. An inset top of white marble sits above four small drawers with aluminium pulls. A pair of folding doors with inlaid black leather panels open to reveal an interior fitted with five additional drawers whose position can be adjusted. The back of the sideboard is finished for placing mid-room.
A corresponding larger sideboard is also available.


Dalchem provides different types of polyester laminating resins that are used for casting clear and transparent parts. Upon the addition of a hardener, polyester laminating resins cure to a solid. The hardener/catalyst is available separately.
Dalchem's polyester laminating resins have low viscosity, which makes them easy to spray. Polyester laminating resins cure quickly and are very easy to use. Also, polyester laminating resins provide excellent resistance to temperature as well as to catalysts.
Polyester laminating resins cure to a tacky or a slightly sticky finish and do not need any sanding between coats, which makes them ideal for lamination. That's because the tackiness causes better adherence to the object of binding. These resins have excellent adhesion properties.


text:
An exciting conclusion for "the local" in "Fazza for falconry"
The "Al-Mahalli" runs were concluded on the impact of an exciting competition and great strength in the "Shaheen" category, within the Fazza Championship for Falconry "Al-Talwah", organized by the Hamdan Bin Mohammed Center for the Revival of Heritage in Al-Ruwaiya in Dubai, and its competitions will be concluded on Friday, after having succeeded since the beginning of the month Ongoing pain enhancement
"Bel-Khalis", "Al Wasl", "Al Yalayas" and "Al Mansouri" win the "Al Shaheen" races
Falconer Sultan Al Falasi: I am keen to pass on this traditional sport to my children.
The "Al-Mahalli" runs were concluded on the impact of an exciting competition and great strength in the "Shaheen" category, within the Fazza Championship for Falconry "Al-Talwah", organized by the Hamdan Bin Mohammed Center for the Revival of Heritage in Al-Ruwaiya in Dubai, and its competitions will be concluded on Friday, after having succeeded since the beginning of the month The ongoing promotion of the folklore, and highlighting this heritage sport specifically in the best way.
In the local races for the Shaheen category that was held yesterday, Rashid Ghasbab won the first-chief Shaheen Farkh run, by means of the bird "Gabba", who covered the race distance at a time of 18.408 seconds. Al-Saqqar himself won the second place in "Abu Al-Maarak" with a time of 18.639 seconds, and in the third place the team "MRM" in the bird "SN9" with a time of 19.214 seconds.
The Al Wasl team won first place in Shaheen Jarnas, first head with the bird "H1" at 19.341 seconds, and came second in "MRM" with the bird "14" at 19.473 seconds, and in the third place, Saeed Hilal Al Mansouri in the "Al Daia" race, at 19.548 seconds.
The "Alaylais" team won a second main lead, Shaheen Farkh, with Al Tayer "in 40" in a time of 18.037 seconds "the fastest during the rounds", followed by Ahmed Khalaf in the jaw with the bird "thought" at a time of 18.195 seconds, and third, Khalifa Ahmed Bin Mejren in Al-Tair, "Madrid 87", at 18.481 seconds. .
In Shaheen Jarnas, the second president, the first place was achieved by Ali Saeed Al Mansouri in the "black" bird with a time of 18.362 seconds, followed by the F3 team in the bird "SH31" at 18.754 seconds, and the third place by the Dubai team in the bird "fifty" at 18.778 seconds.
Closest to heritage
Falconer Sultan Ahmed Thani Al Falasi emphasized that this category is considered the strongest and closest to the heritage, which encourages falconers to pay attention to it, and the record times and strong competition in all circuits reflect the extent of interest in it, and said: I strive to transfer this heritage sport to my children, so I will involve them in competitions Junior, who are present during these rounds in order to benefit and gain experience for the future, and I am very happy with their interest, permanent presence and their eagerness to master this heritage sport.
Falconer Khalifa Obaid Al Muhairi, from the "Al Yalayis" team, affirmed that I always strive to excel and achieve the first positions. This time, success came by winning first place with a strong bird that was well prepared for this season, which was reflected by the number it achieved.
While he attributed the success completely to the effort of the team that worked hard, in order to appear in this positive image.
Roman Post
The competitions witnessed the participation of Roman Victor Matuta, who has become a permanent guest at the tournament, with his eagerness to participate for many years and achieved sixth place today, and he said: I work in the field of falcons, which encouraged me to own my own falcon, and I always try to achieve the best results possible given that it is a hobby in The time being, but I'm very attached to it and love the beautiful atmosphere in this great tournament.
He continued: I was lucky enough to be in the first 10 places, after I achieved ninth place, and every year I strive to achieve a better place than that.
In the local runs for the Shaheen class, Rashid Ghasab won a half for Shaheen Farkh, first president.
Al-Wasl team won first place in Shaheen Jarnas, first president, with the bird "H1".
"Fazaa for Falconry" is ready to be launched in Al Ruwaya
Falconry of the future in the footsteps of the ancestors in the "Fazza Championship"
"Fazza for falconry": 283 birds kick off the "public" and "angel" launch
"Dubai for People of Determination" announces 5 championships in "Fazza International 2021"
Falconry ... are authentic values passed down to generations of the Emirates
Nader falcon breaks the record with a large amount in Saudi Arabia
The Fazaa Championship for Al-Yola is looking for "Faris Maidan" with special specifications
Hamid and Maktoum Al Shamsi are the first to qualify for "Yula Fazza"


text:
Refugee Studies Centre Seminar Series Hilary Term 2017-Perspectives on the Syrian Conflict
admin - 16th January 2017
This seminar series aims to shed light on different aspects of the Syrian conflict in order to provide a better understanding of it. It also discusses the consequences of the situation in Syria for the international community, for humanitarian organisations, but also for the legal infrastructures put in place since the Second World War with regard to international humanitarian laws, human rights, and refugee protection.
Seminars are held on Wednesdays from 5:00-6:30pm in Seminar Room 3, Oxford Department of International Development, 3 Mansfield Road, Oxford, OX1 3TB.
This term's series is convened by Dr Leïla Vignal and supported by the Maison Française d'Oxford.
Details can be found here.
Syria and its refugees: a historical perspective
Dawn Chatty (Emeritus Professor in Anthropology and Forced Migration, Refugee Studies Centre, University of Oxford)
Divided by a shared agenda: the humanitarian response to the crisis in Syria
James Darcy (Lead consultant for the UN-commissioned Whole of Syria Review and former Vice-Chair of Oxfam GB)
The ethics of protection in Syria
Jennifer Welsh (Professor and Chair in International Relations, European University Institute, Italy)
The struggle for Syria
Ziad Majed (Associate Professor of Middle East Studies and International Affairs, American University of Paris, France)
Syrian trajectories: from local revolutionary actors to exiled humanitarian workers. Meanings of humanitarian action in the Syrian post-2011 context
Laura Ruiz de Elvira Carrascal (Postdoctoral researcher, WAFAW project, CNRS/IREMAM, Aix-en-Provence, France)
Writing in times of war and revolution
Samar Yazbek (Syrian writer, Paris, France)
The Syrian internal displacement
Leïla Vignal (Marie Curie Fellow, Refugee Studies Centre, and Senior Researcher, Wolfson College, University of Oxford)
From revolution to jihad, and back. Syria's Islamist insurgents in the face of people's power
Thomas Pierret (Senior Lecturer in Contemporary Islam, Department of Islamic and Middle Eastern Studies (IMES), University of Edinburgh)


Smith is 5-foot-9 with a slender build. She has short red hair, blue eyes, nose piercings, and a black-and-white sunflower tattoo on her upper right chest near her collarbone. Police said she was wearing light-colored shorts and a shirt when last seen.
Anyone with information in the case is asked to contact ASU police, 828-262-2150. Reports also can be made anonymously online.


text:
Glenrothes 40 Year Old rolls out globally
The oldest whisky from The Glenrothes distillery – a 40-year-old expression – has been launched globally and via an online ballot.
The one-of-a-kind whisky was distilled in December 1978 in copper pot stills that were replaced soon after this date. It was then matured in various Sherry-seasoned and ex-Bourbon casks. Just 594 bottles were released through London merchant Berry Bros & Rudd at the start of October. From today (15 November), the 40-year-old will be available globally in selected retail outlets and via a ballot at www.theglenrothes.com. "Forty years ago The Glenrothes distillery was different in many ways, yet our whisky character remains unchanged," said Gordon Motion, master whisky maker for The Glenrothes. "The release of our new 40-year-old single malt takes us back in time and celebrates the end of an era with the closure of the original still house. "It has been a truly rewarding experience to incorporate some of the last remaining spirit from this time. The very fact that it was created in a place which no longer produces whisky highlights the real rarity of this expression." The Glenrothes 40 Year Old is bottled at 43% ABV and is priced at £2,950 (US$3,800).
Glenrothes 40 Year Old rolls out globally - Wooden Cork


text:
Q: How to loop a String ArrayList in java and how to split the elements in it I have to write a program which prints the String which are inputed from a user and every letter like the first is replaced with "#":
mum    -> #u#
dad    -> #a#
Swiss  -> #wi##  //also if it is UpperCase
Albert -> Albert //no letter is like the first

The user can input how many strings he wants. I thought to split the strings with the Split method but it doesn't work with the ArrayList.
import java.util.*;

public class CensuraLaPrima {

    public static void main(String[] args) {
        Scanner s= new Scanner (System.in);
        String tdc;
        ArrayList <String> Parolecens= new ArrayList <String>();

        while (s.hasNextLine()) {
            tdc=s.nextLine();
            Parolecens.add(tdc);
        }

        System.out.println(Parolecens);
    }
}

A: Tasks calling for replacing characters in a string are often solved with the help of regular expressions in Java. In addition to using regex explicitly through the Pattern class, Java provides a convenience API for using regex capabilities directly on the String class through replaceAll method.
One approach to replacing all occurrences of a specific character with # in a case-insensitive manner is using replaceAll with a regex (?i)x, where x is the initial character of the string s that you are processing:
String result = s.replaceAll("(?i)"+s.charAt(0), "#");

You need to ensure that the string is non-empty before calling s.charAt(0).
Demo.

A: If you want to read in single words you can use Scanner.next() instead. It basically gives you every word, so every string without space and without newline. Also works if you put in two words at the same time.
I guess you want to do something like this. Feel free to use and change to your needs.
import java.util.*;
public class CensuraLaPrima {

  public static void main(String[] args) {
    Scanner s= new Scanner (System.in);
    String tdc;

    while (s.hasNext()) {
      tdc=s.next();
      char c = tdc.charAt(0);
      System.out.print(tdc.replaceAll(Character.toLowerCase(c) +"|"+  Character.toUpperCase(c), "#"));
    }

}

}
Edit:
Basically it boils down to this. If you want to read single words with the scanner use .next() instead of .nextLine() it does consider every word seperated by space and newline, even if you put in an entire Line at once.

A: Assuming that you've successfully created the ArrayList, I'd prefer using the Iterator interface to access each elements in the ArrayList. Then you can use any String variable and assign it the values in ArrayList . Thereafter you can use the split() in the String variable you just created. Something like this:
//after your while loop
Iterator<String> it = Parolecens.iterator();

String myVariable = "";
String mySplitString[];

while(it.hasNext()) {
    myVariable = it.next();
    mySplitString = myVariable.split(//delimiter of your choice);
    //rest of the code
}

I hope this helps :)
Suggestions are always appreciated.

redpajama_set_name: RedPajamaStackExchange


Big Top Evening Celebration: A God-breathed salvation is a Phil Wall talk recorded at Spring Harvest - 2011 on Salvation available as CD format.
Be the first to review Big Top Evening Celebration: A God-breathed salvation a talk by Phil Wall!
Got a question? No problem! Just click here to ask us about Big Top Evening Celebration: A God-breathed salvation a talk by Phil Wall.


text:
Day 25 of (at least) 30 baseball book reviews for spring/summer 2020: Oh, the under-delivered insanity … we're at our wit's end
"Herman Munster, the forgotten Dodger," by Eric Stephen of TrueBlueLA.com. For some reason they never called him "Babe" Herman, but he coulda been the greatest No. 37 in team history. We knew we could make you at least smile.
"Wits, Flakes, and Clowns:
The Colorful Characters of Baseball"
Wayne Stewart
Released March 11
At the publisher's website
At Amazon.com
At BarnesAndNoble.com
At Powells.com
At Indiebound.org
At the author's website
The funniest thing we tried during this pandemic lock down was give ourselves a haircut. Even with adjustable beard trimmer, it looked like a kindergartner given his first pair of left-handed scissors and then trying to fix it with wheat paste as a styling gel.
Friends suggested we watch a YouTube video first, and "have the right tools." My wife grabbed rose pruners and a slightly-used cat de-wormer to see if she could rescue it.
We expected to emerge with something between Howie Long and Howie Mandel, and a contract with Fox to air it.
One can cringe. Or find the humor in it.
Carl Erskine's book on his life with the Dodgers arrived in 2000. He turned 93 last December.
"Humor is a side of baseball that I think is important," Carl Erskine, the Dodgers pitching great, says in a back-cover blurb for this new book. "Stories in baseball are rampant. I don't hear so much in football and basketball, but you get a baseball guy started and you'll hear a lot of stories. There's something magic about baseball. I think one thing about baseball that gets overlooked is the human side of players—and that's what this book is all about."
Even though we never thought of "Oisk" as a well-known good humor man — a nice fellow, expert on the harmonica, for sure — it's nice to see him alive and quoted.
As for some of the lunatics we used to see in the Dodgers' and Angels' locker rooms. …
Our own haircut-in-the-bathroom incident gave us a flash back to a time going into the Dodgers clubhouse and watching Mickey Hatcher with a towel around the shoulders of a teammate, giving him a buzz haircut. Maybe it was some kind of charity thing. That's being charitable. Anyone who knew Hatcher realized this couldn't turn out well. While we can't recall who was on the wrong end of this, he would likely want to remain anonymous.
In the 130-plus stories about those whose natural personality brought humor to the game — "a Whitman's Sampler" of bios, as Stewart says — it's not a surprise that few are Cooperstown Hall of Famers. Yogi Berra, Casey Stengel, Tommy Lasorda and Bert Blyleven fit that, which may explain why all were efficient communicators after their playing days.
Hatcher deserves to be in a Hall all his own.
As well as teammates like Jay Johnstone. And Fernando Valenzuela, perhaps one of the most mischievous troublemakers in the Dodgers' 1980s decade. He's not mentioned in this book.
For this project, the players have been divided into four categories: Pitchers, position players, "princes of Pranks and Zaniness" and honorary mentions. It has an introduction, a conclusion, notes, a bibliography, index and author bio.
With that, we now say with a straight face were are finished with this portion of the review.
How it goes in the scorebook
All kidding aside …
Characterized as a look into the world of major-league characters who've left us laughing, or were a bit odd, or even labeled eccentric, this is a book that should sell itself. Who isn't in need of a laugh now?
The author should understand humor, then get out of the way. The subjects would supply the material. And plenty of it.
But after a read — and a re-read to see if we really missed any punch lines — why isn't this more enjoyable? Should we have lowered expectations?
Hopefully, this isn't a clown question, bro.
Stewart's bio has him as "professional writer and sports historian," a teacher who has produced this one as book No. 34, past projects related to various topics, including an uneven bio of Stan Musial. None seem to be in the humor genre.
From a March, 2020 story on Stewart by The Morning Callof Lorain, Ohio.
The 68–year-old resident of Amherst, Ohio uses his blog as a way to post things he also comes across. Find it at waynestewartonsports.blog. His post generally reflect the style and depth of writing you'll also get here.
Maybe our bar is set too high considering what we know about some of these guys, and what's being fed to us here in this sanitized organization that generally comes off as a cut-and-paste effort, without a signal to the reader what is originally culled and what could be material from another website or book. A Google search of "MLB + funny + crazy" could have likely produced more.
And, there are no photographs. It's up to our imagination to see what these wits look like if we're not familiar with them.
By itself, the bio given on Hatcher makes him as unfunny and unclever as one can be without just being a strange dude. His big, stupid laugh is about as good as it gets in baseball, and in life. We don't hear it here at all. The writing doesn't lift us up to the subject matter as it could or should.
It's kind of like having one of those friends who tell you a story about something that happened to them, and as they're laughing the entire time, they punctuate it with: "It was sooooo hysterical."
You want to reply: Yeah, it really kinda wasn't. But you don't want to sound like 1995 Jerry Seinfeld. Apparently, chalk it up to "you had to be there" moments and let's be cordial.
In an attempt to celebrate who have made the game one to laugh with and not at, those who haven't taken themselves too seriously, this is an opportunity for someone to give serious consideration at taking another full round of swings at this topic.
Maybe we have some inspiration.
Oh, one other thing: Jim Bouton does not have his own entry, but is only reference a few times in other's bios.
A nice looking cover, we'll add. Otherwise, we're at our wit's end here. Bad haircut and all.
Baseball and spring training are delayed, but our baseball books aren't. For a lighter look at baseball, check out "Wits, Flakes, and Clowns: The Colorful Characters of Baseball" by Wayne Stewart.
🏏 Find the book at https://t.co/taiMW2XKAE#MLB #baseballhistory pic.twitter.com/Gn7YiBWGOa
— Rowman & Littlefield (@RLPGBooks) March 25, 2020
Perhaps the value of this book can remind us that those who really could bring the hi-jinks have already lowered the boom of a book on us. If you're in need of flashbacks in this time, maybe consider tracking down:
== Joe Gargiola's "Baseball Is A Funny Game"
== Bob Uecker's "Catcher in the Wry" (aka: "The Man who made Mediocre Famous")
== Jimmy Piersall's "The Truth Hurts" (which follows up "Fear Strikes Out")
== The Jay Johnstone trilogy: "Temporary Insanity: The Uncensored Adventures of Baseball's Craziest Player" in 1985, followed by "Over The Edge" in 1987 and "Some of My Best Friends are Crazy: Baseball's Favorite Lunatic Goes in Search of his Peers" in 1990.
== Bill Lee's "The Wrong Stuff" from 1984
And there's also:
== "Joy In Mudville" edited by Dick Schaap and Mort Gerberg, which includes "The Curious Case of Sidd Finch" and Jim Bouton's forward to "The Baseball Fan's Guide to Spring Training (1989 Season)" that starts with:
"Many are called, but few are chosen,"
A quote from Seattle Pilots manager Joe Schultz in Tempe, Ariz., 1969
(also Jesus Christ, Jerusalem, 33)
One more hope (for the hopeless)
== "Big Sexy: In His Own Words," by Bartolo Colon with Michael Stahl, Abrams Images, $24.99, 208 pages, supposed to be released May 12.
Our pre-order and requests for a review copy have turned up fruitless to date.
We just know that bios of baseball stars who could be on the cusp of Hall of Fame status often come out to support their career body of work, whether it be with testimonies from teammates or sabremetic breakdowns of their statistical achievements. Colon isn't eligible for the Hall until 2024, on a ballot that will include many in his same "very good/should get in eventually" category – Chase Utley, Adrian Beltre, Adrian Gonzalez, Joe Mauer and David Wright. So why wait?
Plus, his media charm is what makes him a book candidate.
A four-time All Star with a career mark of 247-188, a 4.12 ERA (six seasons he finished in the top 10 in ERA) in 565 games, a career 46.1 WAR, with a seven-year peak of 35.6 ain't bad – it's comparable to current Hall of Famers Jack Morris and Jim Bunning, but more along the lines of Andy Pettitte, Dennis Martinez, David Wells and CC Sabathia. His most glorious season: A Cy Young Award with the Angels in 2005 (a league-best 21 wins against 8 losses, a 3.48 ERA in 33 starts, in the second year after the Angels signed him as a free agent).
Colon's 21 seasons with 11 teams seems to have termed out when Texas tried to get something out of the 45-year-old starter for 24 games (7-12, 5.78) in 2019. Before that, his most fortuitous stop was three years with the New York Mets from 2014-16, where he twice won 15 games, had 14 wins in the other one, and hit his one-and-only homer as a 43-year-old in San Diego in '16.
With his oversized stature, Harpo Marx crop of hair and playful nature, Colon reinvented himself several times, but his apparent discomfort speaking fluent English with reporters was also part of his mystique. Putting "his own words" now into a book, we hope, will be somewhat refreshing. Should it ever come out.
(Also: Look at the cover. What team is he pitching for? That's about the worst rendition of a Topps baseball card we've ever seen).
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Attention Netflix fans, the cost of your binge-watching habit is about to get a lot more expensive. Prices for the monthly service will increase the next time bills are sent to subscribers. The standard subscription will go up from $11 to $13 a month. For those with a premium plan, it will increase from $14 to $16. Netflix is making the move as it shifts towards producing more original content.
Netflix is will soon face heavy competition in the streaming department. Later in 2019, Disney will release its own service, Disney+. A streamer from Apple, called TV+, was also revealed this month.


text:
Robert J. Lewis
Mark Goldfarb
Bernard Dubé
Sylvain Richard
Robert Rotondo
Marissa Consiglieri de Chackal
Music Editors
Diane Gordon
Serge Gamache
Arts Editor
Lydia Schrufer
Mady Bourdage
Marcel Dubois
Emanuel Pordes
Mark Kingwell
Stephen Lewis
Margaret Somverville
David Solway
Julius Grey
Irshad Manji
Jean Baudrillard
Barbara Ehrenreich
Leon Wieseltier
Charles Lewis
John Lavery
Tariq Ali
Michael Albert
Rochelle Gurstein
mission impossible?
SAVING THE VISUAL ARTS
JOHN M. GORDON
John M. Gordon received his MFA degree in painting from the University of Wisconsin in 1966, where he studied under Dean Meeker in printmaking, Santos Zingale and Milton Resnick in painting, and John Wilde in drawing. Since then he has taught drawing and painting to over 1500 private students and over 2000 correspondence students in 20 countries. He currently teaches drawing and design at St. Norbert College in DePere, Wisconsin. For further information, visit John's website: www.newmasters.com
This article is directed to artists, art educators and appreciators who are concerned about the increasing trivialization and irrelevance in the field, its lack of defining characteristics, its alienation as an academic discipline from the greater intellectual community and the resulting failure of art education to maintain a significant presence in the curricula of American schools.
Art is whatever I say it is. --Marcel Duchamp
Art is nothing. --Flavio Sciole
DIRECT-PERCEPTION: TOWARDS AN OBJECTIVE FOUNDATION FOR THE VISUAL ARTS
After nearly a century, modern and postmodern artists, critics and art educators have so liberated the term art from its traditional meanings and applications that in both the popular and professional senses of the term, it has lost its capacity to function as a word – that is it can no longer distinguish itself from what it is not. In both theory and practice, art is anything one chooses to make it; an artist is anyone who makes the claim. The lack of focus of the visual arts is due not only to its theoretical ambiguity but to its related lack of instructional coherence and measurability. It can be safely stated that art education is the only performance-based field of study that has neither a viable system of standards nor an established technical foundation. It is a field with no clearly defined, generally accepted goals, no established methodologies and no meaningful way to measure the progress of its students.
A field that fails to maintain its technical base and is at war with itself on the very issues that define it -- on its very nature and purpose -- is a field in crisis. The resolution of that crisis will require foundational changes in the way art is thought about, produced and taught.
I will attempt to make the case that in both the visual arts generally and art education specifically, the cause of decline is the same: the neglect of direct-perception drawing and painting -- rendering what one sees as one sees it, in the immediate present, without recourse to memorized formulae or the influence of other artists' styles. This practice, which had been the pedagogical foundation (although seldom the direction) of the field from the Renaissance to the turn of the 20th Century, was overturned in a matter of three or four decades by the abstraction-based modern art and art education movements.
There are two reasons why the visual arts field abandoned its technical traditions in both the practice and teaching of art over the past century. The first is its acceptance of the modernist notion that the imposition of technical rules inhibits creativity. The second is that art education came under the influence of the progressive movement, as did education generally, which advocated turning away from the teaching methods and goals of the past and embracing speculative experimentation as a means for educational reform. These trends, in company with the abandonment of strict performance standards in the foundational skill of drawing, destroyed the technical consensus that had held the field together since the early Renaissance.
It is for this reason that "the elements and principles of design" have been the only theoretical constant in the field for the past 70 years and why those principles -- balance, unity, movement, proportion, rhythm etc. -- have become almost meaningless. They are meaningless as currently applied because they are not supported, as are the principles of music education and sports training, by rigorous performance standards -- and are generally not binding. In practice, they are not really principles at all but loosely defined tools of personal expression that are available to the artist and the teacher who may use them as they wish, break them as they wish and ignore them as they wish. It should be obvious that no new pedagogy worthy of the name -- and certainly none that would be accepted field-wide -- can be developed within the current modernist/postmodernist theoretical framework. This is not to suggest that all art teachers and art departments fail to emphasize accurate drawing, but those that do are exceptional and do not significantly influence the field.
The departure of the art education field from its strict adherence to visual truth in the training of artists was theory driven and intentional, facilitated by two dominant instructional stretegies: encouraging students to draw and paint abstractly -- to willfully distort or abandon perceived imagery -- and encouraging them to adopt the stylistic characteristics of other artists. So at its very outset, the modern art education movement was fatally conflicted between its intentions and its methods. It adopted the abstraction principle for purposes of self-expression (and as a political weapon against traditional art institutions and practices). It adopted its mannerist teaching techniques out of necessity. Most new art students had difficulty comprehending abstraction in principle and were generally not inclined toward it in practice. Their reluctance was understandable: willful abstraction is counter-intuitive and un-natural by definition.
To get students to draw and paint abstractly, teachers first had to convert them to the ideology of self-expression, then to the companion idea that self-expression required abstraction. The gist of the message was this:
to draw an apple as you see it leaves you out of the picture and you are what art is all about. To put yourself in the picture you must change (or ignore) the apple and do so in your own unique way.
The modernists further assumed that the self is autonomous and foundational and that individual artists have the potential to plumb the depths of Being to reveal universal truths of benefit to us all (the genius theory). The postmodernists disagreed. There is no autonomous self; there are no Universals; there is no Truth. The individual is a social construct. Art is political.
In any case, this directive to express the self through absraction created a pedagogical problem that has never been satisfactorily resolved: teaching students how to draw and paint something that they do not see and cannot visualize. The problem was solved on the instructional side by pre-programming the visualization process, which is to say, by showing students examples of abstract drawings and paintings. However, this practice created another problem on the learning side: that of originality. How do students who gain their understanding of abstraction by looking at other artists' abstract pictures, create their own pictures without mimicking those examples? The answer, as every art teacher knows (but few will admit) is that they cannot. This is true, not only of newly-initiated art students, but of accomplished abstractionists as well. Picasso and Braque, during their early Cubist period, made regular visits to each other's studios and ended up producing pictures so similar that they were later unable to identify them as their own.
In order to follow the new path of mannerist abstraction with at least the appearance of a clear conscience, artists and teachers had to deny the obvious: that the practice of mimicry is contradictory to creativity -- and to boldly advocate its use as an important part of the creative process. One does not mimic, one is influenced or inspired by the work of others. This is now a thoroughly institutionalized notion which has yet to be seriously challenged, although a theoretical basis for such a challenge has been on the table for over 2000 years.
"The imagination cannot create,
it is composed of memories." -- Aristotle
Aristotle may be overstating his case, but the dependence of the imagination on memory cannot be refuted. Whatever else may be happening in the imagining process: mixing, exaggerating, simplifying, distorting, etc. -- and a case can be made that some sort of (non-original) creativity is involved in these activities -- memory is the primary source of the material on which it is working. More importantly -- and this gets to the very heart of the problem with imaginary invention and modern art generally -- the dominant content of memory for the artist, with respect to its mental staying power and retrievability, is the work of other artists.
The Picasso/Braque episode is a case in point, which I make, not to repudiate imaginative art, but to establish the foundational importance of perceptual drawing and painting -- both as ends in themselves and (secondarily) as a foundation for invention. The best imaginative artists (Picasso, Matisse, Dali etc.) were classically trained. Although it is not possible to be clinically specific about the relationship between classical training and imaginative creativity, one can assume that those trained to see real objects with the eye and render them with the hand have a broader range of memories, better memorial access and better manual response to input from either the eyes or the memory than those who learn to draw only from their memories of other people's pictures.
As a teacher in his Académie Matisse (Paris), abstractionist Henri Matisse insisted on strict visual accuracy from his beginning students. "Many of the students, knowing Matisse only through his work, expected to find that they could do just what they liked in his classes. On the very first morning, for instance, they welcomed him by festooning the classroom with canvases daubed in the loudest, strongest colors on their palettes. Matisse, walking in, exclaimed, 'What's all this rubbish? Take it down at once!' Then he put them through a series of academic exercises that must have made some of them wish they were back in the Beaux-Arts. He insisted on exact measurements and on the use of the ruler and the plumb line." (John Russell, The World of Matisse, Time-Life Books, 1969.)
The common assumption that creativity is exclusively a function of the imagination fails to take into account the superior and more fundamental creativity of perception. Researchers in the perceptual sciences -- like Charles Solley and Gardner Murphy (Development of the Perceptual World, 2006, Kessinger Publishing, 2006) -- are in general agreement that seeing is not, as commonly assumed, a straight-forward, purely receptive process. We do not see and then think about and have feelings about what we saw. Thinking and feeling are part of the perceptual process. What we actually experience as a result of looking at a tree or an apple on a plate is not the tree or the apple, but a percept, a picture in our own brains. This picture is formed in the visual cortex at the back of the brain, and is only partially composed of retinal data (which is already pre-filtered to admit only a portion of what is actually out there). This remaining retinal data is combined with the memories of past perceptual, intellectual and emotional experiences into an image that we mistakenly assume to represent the outside world. In fact, it is a composite of two worlds: the external and the internal, the present and the past. So to abstract -- to willfully distort or ignore the images of direct experience -- is to depart, not only from the world at large, but from ourselves as individuals. Thus it can be argued against the self-expressive assertions of abstractionism that the most creative human function is seeing and the most self-expressive artistic act is painting truthfully what one sees.
The most serious problem with art programs based on the invention principle is that they have no objective basis for claiming creativity or developmental value or for judging their own effectiveness or the progress of their students. Teachers in such programs cannot determine how successful their students are at working from their imaginations because they have no way of knowing what their students' imaginations actually contain. The only imagination teachers have any direct knowledge of is their own -- which explains why art instruction today is so heavily influenced by the personal tastes of the instructor and why such programs vary so widely from school to school. Perception-based art instruction, on the other hand, draws upon objective rather than personal references: the objects of the visible world. Whether the subject is a simple cartoon picture or a complex still life, the teacher and the student can judge the student's performance by simply comparing his or her artwork to the original -- something they both experience in common.
To advocate for direct-perception in the training and practice of art is to confront the inadequacies and ambiguities of the language of art theory, both traditional and contemporary. The practice of perceptual drawing and painting does not fit any of the commonly used terms relating to recognizable imagery. Representational art, figurative art, realism etc. refer to what a picture looks like. They imply nothing about the methods used or the artist's intentions in making it. A realistic picture can be done entirely from memory, formulae (steps that one follows to make trees look like trees, clouds like clouds) or photographs.
A direct-perception picture is done for the purpose of gaining perceptual knowledge and improving one's manual response to that knowledge -- to learn to see more clearly and substantially and to paint more truthfully and skillfully. The goal of realism is precisely the opposite; its purpose is to create convincing illusions. This difference in intent is reflected in the way the products of the two methodologies are evaluated. The technical success of direct-perception is measured against the actual object perceived, while the success of realism is measured against prevailing conventions -- by how well it satisfies the pictorial expectations of the general public.
Although direct-perception is process-centered by definition, the argument for adopting it as the guiding principle of art and art education also rests on the quality of the product, about which I will make the following general claim: No picture produced by image-making or image-bending technology, painted from the imagination, by formula or by means of the willful approbation of the styles and imagery of other artists can surpass the quality, subtlety and depth of feeling of a truthful, skillfully hand-rendered picture done directly from life. And nothing in the field could be more personally beneficial and fulfilling than acquiring the skills and personal qualities necessary to draw or paint such a picture.
There is no objective way to prove this claim of course, but it is self-evidently true to those who have experienced it personally, either as artists or appreciators. It can also be supported by reference to those inexplicable, but almost always significant, occasions in art history when perception was pursued for its own sake (as opposed to being used for the illustrative or decorative purposes of the day): Leonardo's Mona Lisa, Rembrandt's self-portraits, Velazquez's portrait of Phillip IV, Gericault's Madwoman, Monet's haystacks, and the "incredible apples and pears by Paul Cezanne" (from Woody Allen's Manhattan). I cite these artists, not to advocate a return to the art and theories of the past, but to make a case for a return, with new eyes, to the realities of the present.
This will not be an easy case to make. It is one thing to advocate for direct-perception as an instructional tool; it is quite another to advocate it as an aesthetic direction. One of the problems is that direct-perception and realism, while theoretically opposed, are formally indistinguishable. Another is the early modernists' misappropriation of Paul Cezanne as a fellow abstractionist when in fact he was a dedicated champion of direct-perception. But these problems are beyond the scope of this article and are not central to its point: that direct-perception is the inescapable foundation of the visual arts, is responsible for most of the celebrated masterpieces in art history, and is the only conceivable option left open to us.
The end cultural result of the double-barreled assault of inventive abtraction and mannerist pedagogy on the fields of art and art education over the past century has been the loss of the artist's connection to nature, the hand's connection to the eye and the decline of the individual -- the very source of art and creativity.
But there is some hope to be found in the direness of our straits and the persistent patterns of history. When a culture loses its interest in the pursuit of truth; when its emotions and ideas are exhausted, standardized, calcified, incapable of producing personal and cultural renewal, art makes its periodic turn toward the outside world.
"All great movements in art history
began with a return to nature." --Kenneth Clark
It is not possible for us to imagine what the world will look like when art instructors and artists finally return to their jobs: the former to teach us how to draw, the latter to teach us how to see. We have nothing with which to build such a vision. Our minds are filled with the images of a century of art dedicated to the deconstruction of the past -- the very stuff that the next generation of direct-perceivers will have to fight their way through to the truth.
It is a significant feature of our times that we cannot even conceive of a plausible future for art that is neither an extension of an already exhausted present nor a return to an irretrievable past. We are clearly at the end of an epoch, with only an apple on a plate in front of us. We have no traditional boundaries left to break, nothing more to lose and nowhere else to go.
"Doubtless there are things in nature which have not yet been seen. If an artist discovers them, he opens the way for his successors. If I have left something unsaid, they will say it." --Paul Cezanne
Reader feedback click HERE.
INSTALLATION ART OR ARTIFICE
ABSTRACT ART ISN'T ART


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text:
Q: How to make a user friendly start of a Python program? I have a Python program (GUI application). I can run this program from the command prompt on Windows (command line on Linux). But it can be too complicated for users. Is there an easy way to initiate a start of the program with a click (double click) on a pictogram (a small image on the desktop)?

A: I'm not sure if I understood the question well, but if you just need a way to simulate a command line input with a simply clickable icon, just create a simple .bat file (assuming windows) on the desktop, as a new text file containing something like

C:\[Pythonpath]\python C:\[MyPythonAppPath]\myapp.py

See http://en.wikipedia.org/wiki/Batch_file for more info.

A: Linux:
I am not sure, which linux distro and desktop you use but for gnome I create such files on desktop e.. create a myapp.desktop and put in on desktop
[Desktop Entry]
Version=1.0
Encoding=UTF-8
Name=MyApp
Type=Application
Exec=python /home/anushri/display.anurag/xxx.py
TryExec=
Icon=/usr/share/pixmaps/gnome-qeye.png
X-GNOME-DocPath=
Terminal=false
Name[en_IN]=MyApp
GenericName[en_IN]=MyApp
Comment[en_IN]=MyApp
GenericName=MyApp
Comment=MyApp

Windows:
Right-click an open area on the desktop, point to New, and then click Shortcut, type the command line to start you program, Type a name for the shortcut

A: Use py2exe to make an exe and just to make it more 'user friendly' use Inno set up (www.jrsoftware.org/isinfo.php ) along with IStools to build up an installer which would integrate the GUI with sound, widgets, other elements etc and users who do not have python etc installed in their systems can also play your GUI perfectly fine !
By the way what GUI are you using ? pygame, tk, wx, PyQt ...etc ?

A: What I've done in the past is use py2exe to create an executable from my python script.  That embeds the interpreter and the source inside an EXE, that way it works just like a native executable and you don't have to have the users install python or anything complicated.


PNA branches are located across South Africa, and there is no better place to go when looking for stationary, crafts and arts items. The brand was established in 1992, and in nineteen years forty-eight branches have been opened up around the country. PNA has said that there will be more branches coming, but in time. If you are looking to be involved in this franchise and you are business orientated all you need is R360 000 in your hand and this will cover the set-up cost. You have to remember that the opportunities to open up your own branch anywhere in the country are there. You just have to get in to it.
When it comes to searching for PNA branches around the country, you will not need to go far. Their website has it all and you will be able to find a store locater that will list every single branch that exists around the country. Every PNA branch is the same – you will be able to find everything from stationary and arts and crafts to books, magazines and best sellers. If you have not yet had the time to visit one of the stores, you should definitely make a plan to visit one this weekend. Bring the kids along, because there is also a Kids corner that will keep them busy while you browse for your favourite author.
When you visit the website, have a look at the competition section. The answers to the questions can be found in store. For example, they will ask you the title of a specific author's book, and when browsing the book shelf, you will find the answer there. Make sure that you visit any one of the PNA branches today or this weekend and take advantage of affordable prices and deals.


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Discussion in 'Mega, Mini, Spiral & Pixel Trees' started by SmartAlecLights, Sep 18, 2014.
So I know im for the no 1 version.
So would others be intrested in getting these for there displays ? an what option would you choose?
Nothing that couldn't be marked up and drilled out yourself if you were inclined though, so cost would be important factor vs. how lazy am I going to be?


Donning sneakers, 24 dancers performed the rapid, rhythmic contemporary movement of Benjamin Millepied's Counterpoint for Philip Johnson during American Ballet Theatre's fall season. Using members of the ABT Studio Company and Jacqueline Kennedy Onassis School, the commission was an unusual late addition to the program. But even more unusual was its setting: The work was danced not behind the proscenium, but as an intermission interlude on the tiered balconies of the David H. Koch Theater promenade, with the dancers looking down on the patrons from above.
With pieces like Counterpoint at ABT and Peter Chu's Space, In Perspective at Hubbard Street Dance Chicago, and Paris Opéra Ballet looking to set work in the public spaces of the Palais Garnier this spring, in-theater site-specific works are trending among companies whose seasoned patrons are more used to sitting comfortably in the dark.
Neumeier's costume rendering for Orphée et Eurydice. Photo courtesy Lyrica Opera of Chicago.
As a student, Milwaukee native John Neumeier appeared in an opera at the Lyric Opera of Chicago. As Hamburg Ballet's artistic director and one of the world's leading choreographers, Neumeier now returns to the Midwest to direct and choreograph a new version of Gluck's Orphée et Eurydice, a co-production of the Lyric Opera, LA Opera and Hamburg State Opera. Set to open in Chicago September 23 with the Joffrey Ballet, the ambitious work will see additional engagements in Los Angeles and Hamburg over the next two years.
How did you come to be involved with this collaboration?
It was initiated by the director of the Lyric Opera, Anthony Freud, but I had already been in contact with Ashley Wheater about a separate project with the Joffrey Ballet. The two things came together—and this was really interesting to me because Chicago was important at the start of my career. I was born in Milwaukee, but most of my training was in or near Chicago.
You've previously created version of Orpheus for Hamburg Ballet. What about this particular production caught your interest?
When I got this offer from Anthony, I just went back to the piece and tried to sense what it meant to me now. Gluck's Orphée was part of a push to reform opera and to make a complete work of art involving music, text and dance. What interests me—particularly in this French version we are doing—is that dance plays such an essential role. When Agnes de Mille choreographed Oklahoma!, it was considered a revolution in musical theater, because dance moved the plot along. In Orphée, we can see that the same idea had been realized several centuries ago: that dance would not be just a divertissement, but a theatrical element, literally "moving" the plot along and expressing in another form the emotion of each situation.
Another idea in Orphée which fascinates me is its directness in projecting profound human emotions—emotions not used as an excuse for vocal virtuosity, but expressed in simple and direct musical terms. In Orphée, we have a mythical subject which is related in an extremely relevant, familiar, human way.
Hubbard Street's Andrew Murdock teaches repertoire during an HS Pro pilot program. Photo by Todd Rosenberg, Courtesy Hubbard Street.
Hubbard Street Dance Chicago enters its fifth decade with a new training program designed to propel young professionals toward careers in dance. The Hubbard Street Professional Program (nicknamed "HS Pro") provides a two-year postsecondary alternative to university dance programs.


Dr Isabelle Aubert, University of Toronoto, will provide an introduction to MRI-guided focused ultrasound (MRIgFUS), which in presence of intravenously injected phospholipid microspheres is used to increase the permeability of the blood-brain barrier (BBB) in a localized, controlled, and transient manner. She will review applications in preclinical models of neurodegenerative disorders where therapeutic molecules, gene therapy vectors, and progenitor cells are injected intravenously and delivered from the blood to targeted areas of the brain with MRIgFUS. Dr Aubert will describe the seminal work of the Sunnybrook team on MRIgFUS-BBB modulation, without exogenous therapeutic, leading to glial plasticity, amyloid pathology reduction, hippocampal neurogenesis and improved cognitive functions in a preclinical model of Alzheimer's disease (AD). The presentation will conclude with the clinical evaluation of MRIgFUS and BBB modulation in people with AD.
What are the delivery options outside the traditional subcutaneous injections moving forward?
What strategies are showing success in improving the oral absorption of peptide-based drugs?
Exploring other routes of administration beyond injection to the back of the eye.
How important is retinal penetration for efficacy?
What are the benefits of different ways of delivering things to the eye and challenges?
In this session, pharma companies discuss their current needs, partnering philosophy and scouting interests, as related to drug delivery.
The afternoon sessions feature companies that will present a wide range of drug delivery technologies, products, or services. These are "quick fire" presentations, with Q&A following each presentation. Throughout the program there are reserved blocks of time for one-on-one partnering meetings to learn more about the technologies and products presented. And for fun, we will have "ice cream delivery" mid way.
Before VCs invest, what decision making criteria are they using?
What VCs think is important and what pharma thinks is important. Those don't always match up, how can we better align. What are those differences and what are the rationales?
Is there a specific revenue target for a startup company that they would look at before making an investment?
The connected drug delivery device market is expected to grow tremendously with emerging technologies that connect patients, physicians, researchers, health systems, etc, while reducing burden to all. Drug delivery manufacturers of inhalers to treat asthma and chronic lung disease for example are fast developing the next generation of smart devices with sensors to monitor if patients are using their devices correctly. In this panel discussion, we focus on next generation emerging technologies, design needs and challenges, and regulatory hurdles to advance the drug delivery smart and connected world.
This session features five-minute talks on cutting-edge technologies, inventions and ideas. The showcase is open to start-up companies, entrepreneurs, investors, licensing officers and university researchers.
How do we Overcome the Barriers of Getting New Technologies Evaluated and Brought in earlier in Product Development?
How can we get drug delivery technologies earlier in the pipeline development of molecules?
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This instructable presents how to monitor the distance from an object using ultrasonic HC-SR04 sensor and ESP8266 node MCU connected to the AskSensors IoT cloud.
hack, if you are using the HC-SR (5V version), we highly recommend to add a serial resistor between the HC-SR Echo pin and the ESP32 GPIO. However, for production, a 3V3/5V level shifter is needed. otherwise, The ESP32 is compatible with HC-SR (3V3 version).
Sign in and create a new Sensor.
Copy down your Sensor API KEY IN.
Download the code from the AskSensors github Page.
Connect the ESP8266 to your computer and upload the code.
Now, Go to your AskSensors dashboard.
Open your sensor page and add a new graph to visualize your data stream in real time as shown in the enclosed figure.