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Which digital production company is best for the digital production industry?
We're going to start by asking: Which digital content production company best fits your needs?
This question is going to be asked a lot by both industry professionals and freelancers alike, and one of the best questions to ask is, which one will be best for you.
In this article, we'll explore all the pros and cons of each of the companies on the top of the list, and give you some suggestions for which one is the best for your needs.
Read on for more.
Posted byadmin October 30, 2021 Posted inAbout UsTags: digital learning products, digital product conference, digital production coordinator, digital production equipment, digital radio production
The best digital product reviews for 2017
New digital product offerings for 2017 are set to get the spotlight this year, with a range of offerings hitting the market including a wide range of high-end digital products, including the latest iPhone XS and XS Max, the Galaxy Note 10.1, the new LG G6, the Samsung Galaxy Note 7, the iPhone XR and the Apple Watch Series 3.
The company is expected to launch new devices in the second half of 2017, with the launch of a range that is expected with the iPhone 9, and the iPhone 8 and the new iPad Pro.
Posted byadmin October 30, 2021 Posted inBlogTags: digital product brochure
Diamonds Digital Products Suppliers are 'losing jobs' as demand for diamonds falls
Digital product suppliers are "losing job" due to falling demand for the precious stones, a report has found.
It said demand for diamond products had dropped by more than 60 per cent since 2014, and was expected to fall further.
Diamonds are a major global industry, but supply is limited due to demand curtailed by the coronavirus pandemic.
The Global Diamond Forum said its latest report on the industry, released today, found that demand had fallen by more that half in the last five years, and by more then half for diamonds made in the UK.
The group said its findings were "not surprising" given the pressures on diamond supply, particularly due to the coronovirus pandemics and the fact that the supply chain is increasingly becoming more complex.
Digital products are made by processing diamonds, which can take up to three weeks to create a diamond, and are then sold at a premium price.
Digital companies like Diamond Supply and Diamond Direct have struggled to find buyers for their products.
The companies' owners have said that demand has been curtailed, and demand has fallen for years.
"Demand is low, but demand is growing," Diamond Supply CEO Rob Folsom said.
"There are more and more people looking for diamonds to sell and more and better quality diamond suppliers are finding themselves on the margins."
There are many factors behind the decline in diamond supply over the last few years, but it is the combination of a combination of poor economic conditions and a number of factors that has put a strain on the diamond industry.
"Diamonds are among the most important minerals in the world and the most valuable of all."
The industry is suffering from poor market conditions and the loss of good paying jobs.
"The report, Diamonds, is a follow-up to the Diamond Supply Annual Report, released earlier this year, which said demand had declined by nearly 80 per cent in the past five years.
The report found that in 2016, the diamond market had grown by 20 per cent, from $1.3bn to $2.2bn, and in 2019 it would be up by more $400m.
In 2018, it would have grown by $200m, and the industry would have been up by another $500m.
Diamond Supply chief executive Rob Felsom said demand fell in the early years of the epidemic, but recovered in the later years. "
In the short term, the world is very competitive, and prices are low," he said.
Diamond Supply chief executive Rob Felsom said demand fell in the early years of the epidemic, but recovered in the later years.
Mr. Folsoma said that over the years, demand has gone down due to "good economic conditions".
He said: "We see the market becoming more and further complex and more expensive."
In 2019, the value of diamonds was around $3.3 trillion, so if we take that $3 trillion and take it up to the $6 trillion that the market was in 2015, that means that the value will fall to around $2 trillion.
"Diamonds in the marketplace are a key source of income for the Diamond Direct Group, which makes diamonds for a range of clients including mining companies, jewellers, luxury brands and retailers.
Diamond Direct sells its products to major retail retailers like Target, Gap and Kohl's, as well as to the diamond supply chain, which includes diamond manufacturers, retailers and jewelry manufacturers.
Diamond products also make up around 20 per, 10 per cent of Diamond Direct's sales.
Diamond companies have struggled with rising costs and a lack of demand for their product.
They have also been criticised for overcharging their customers for diamonds that they do not sell, such as the $40-million price tag on the new Hyper Diamond Collection.
Posted byadmin October 29, 2021 Posted inServiceTags: diamond digital production, digital product services, digital products suppliers
NFL Digital: The future is here. Here are the latest developments
By Dan Shaughnessy | ESPN.com NFL Digital is the digital division of the NFL Players Association.
In 2017, the NFLPA announced the creation of NFL Digital, a division that will serve as a "super-team" of the league's digital teams and digital platforms to develop, implement, and manage NFL digital platforms.
As we continue to work with the NFL and the NFL Digital team, we are excited to share the most recent digital news, insights and trends that will help us make our games, content, and digital offerings more compelling, relevant and engaging for our fans.
In 2017, NFL Digital announced a series of strategic investments and strategic partnerships to better serve the fans of the National Football League and the game of football in general.
These include: $1.5 billion in digital investment from the NFL to help us deliver more engaging content and experiences across all digital platforms, including digital channels and devices; $2 billion in new content and digital platform investments across all platforms to help drive our audience growth and our business; additional digital content and platform investments to help our teams and players grow; more than $100 million in investments to further our business strategy and our digital initiatives; and more than $300 million in digital advertising to support the NFL, and other brands and media organizations.
In addition, we recently launched a new initiative, Digital Media Awards, which will help recognize our digital successes.
The Digital Awards will award $10,000 to the best in-game content and content from NFL and NFL Digital and other digital platforms and events, including new games, games on the move, and live event offerings.
We will be showcasing the best and most innovative content from the league and NFLDigital, as well as our partners and our players.
The winners of the Digital Awards, announced this week, will be announced in May 2018.
For the 2017 season, the Digital Award will be named after the game that kicked off the 2016 season and the week that marks the first day of the 2018 NFL season.
The NFL Digital Superteam will be comprised of five teams that have been named as finalists for the 2017 Digital Awards: The New York Giants: $2.9 billion investment to launch NFL Digital in 2017, including a $1.9 million investment to support digital platforms including NFL Mobile; The Los Angeles Rams: $1 billion investment for a partnership with EA SPORTS to provide a live stream of the Rams home opener at Levi's Stadium on Sept. 11; Los Angeles Raiders: $800 million investment for new digital platforms across the league to help increase our audience and our brand; Detroit Lions: $400 million investment in a new digital platform to drive new growth and engagement; Green Bay Packers: $200 million investment into a new platform to support our team and its fans; San Francisco 49ers: $75 million investment, to launch a new NFL Digital platform to promote local and regional NFL content and events; Indianapolis Colts: $60 million investment through EA SPORTS in support of the team's social media strategy.
The Giants' $2 billion investment will help the NFL build and develop new digital technologies and products that enhance our fans' experience with our games and the players' experience on the field.
The $2 million investment will also support a $500 million investment by the NFL through a partnership to create a global, cross-platform digital platform.
The Giants will be the first team to be named finalists for Digital Awards since the Lions in 2012.
The Rams' $1 million investment is the most in-depth investment in the league for a single franchise.
This is a partnership between the Rams and EA SPORTS, which creates a unique opportunity for the Rams to expand their digital footprint and reach a larger audience through digital channels like the NFL Mobile platform.
This will allow the Rams, in partnership with the league, to reach a broader audience, and help grow the league in new and important ways.
The Rams are the first franchise to be chosen for the award.
Detroit's $800,000 investment is part of a $300,000 grant to the Lions' media and digital operations to help support a new global NFL Digital program to grow the team and reach more fans and advertisers.
The Lions are the only team in the NFL not to have received a formal announcement of the 2017 digital award, but the Lions have already announced the winners of both the 2017 and 2018 awards.
New York's $400,000 deal with EA Sports will build on the team-wide digital strategy that has been implemented since the 2017 Lions and will help deliver a significant portion of the new content on the Lions platform and through the NFL's other digital offerings.
EA Sports is a leading global media and entertainment partner, and it is an opportunity for our partners to partner with a leading NFL digital company like the Rams.
The addition of EA Sports, along with the Rams' commitment to an enhanced platform,
Posted byadmin October 28, 2021 Posted inBlogTags: digital marketing products, pm digital products, sbi digital products
How Digital to digital: A guide to the digital landscape
Digital product partners, marketing teams and product teams are all making digital products, according to a new report by digital product partner The Washington P&D.
The report notes that the digital marketplace is also undergoing rapid change.
As consumers shift to online shopping, they want to have more control over their digital experiences.
They are also increasingly demanding more creative control over content and content providers, according the report.
"With this shift, digital product partners must be aware of how their digital products and their digital partners are evolving and adapt to the changing consumer expectations," the report reads.
"As digital products become more relevant and relevant products, the digital product team must take a more proactive role to ensure they are prepared for these changes."
According to the report, a digital product development team must "actively explore digital product product development as a new product, product development is an important role in digital product management, and product development requires the ability to collaborate and collaborate with the product development organization."
For instance, the report notes, the design of digital product and digital product integration is critical to ensure the team has a viable product roadmap and a cohesive digital product strategy. "
The team must be responsible for ensuring the digital platform is stable and functioning to enable the team to develop, deliver and operate the product effectively."
For instance, the report notes, the design of digital product and digital product integration is critical to ensure the team has a viable product roadmap and a cohesive digital product strategy.
For the digital content team, the key to digital product success is the ability for product development to move forward in a timely manner.
The digital product creation team should work closely with digital content partners and partners to ensure that the product is ready to go into the digital world, according the report.
For the digital marketing team, digital marketing needs to be flexible and responsive to changing needs.
Digital marketing needs the ability and ability to adapt to digital consumer trends and digital media changes.
The team needs to know how the digital media landscape is evolving, the types of products and services available and the opportunities to provide content and marketing to new audiences, according in the report to make sure digital marketing teams are equipped to adapt.
On top of this, the content marketing team needs the capability to quickly engage and connect with consumers in the evolving digital environment.
Finally, digital content and digital content partner must be ready to make and deliver products in the new digital world.
There are several strategies that digital product teams can use to support digital content creation and digital marketing efforts, the new report says.
To learn more about how digital product partnerships and digital products are evolving, check out the full report.
Follow me on Twitter at @bradbakerman and @mariamakhtar. Image via @davemcgowan
Posted byadmin October 28, 2021 Posted inServiceTags: banking digital products, digital banner production, digital generation productions, digital product partner, digital product process
How to build digital products that people love without having to pay an advertising company
By now, the name of this week's Next Web blog post is synonymous with the site's new digital advertising product.
The name of the site is Next.com.
Its content is a mashup of what's happening with the web in 2017, a year that was marked by unprecedented technological innovation, political upheaval, and widespread disillusionment with the status quo.
While many web startups have tried to reinvent the wheel of digital advertising, Next.io is trying to do something entirely different.
The site is a platform for companies to create digital products they can sell to advertisers.
The result is a way for brands to offer their products to the world without paying for it, without having a dedicated ad buyer to make the deals and manage the sales.
The platform, which is expected to launch this month, is designed to be a platform that makes it easy for consumers to interact with brands and advertisers.
It is an idea that has been around for a while.
But unlike the likes of AdSense, which allows advertisers to use the website to directly buy advertising impressions, Next is designed so that the ads are delivered directly to users through the site.
That way, advertisers don't need to buy a dedicated account to buy ads on the site, but rather they can opt into the service and get an ad for whatever product they want.
But what's different about Next.net is that it offers a subscription model.
The company will pay companies that subscribe to its platform a monthly fee for access to its content, allowing them to monetize ads that are currently paid for through traditional advertising.
The fees will be capped at $20,000, so a company can pay a $20 monthly fee per ad that it buys through Next.org and make up the rest with ads from other sites.
The service will be free to users.
But the subscription model means that users will have to pay to access the platform.
For now, users will only have access to ads that they buy through Next, but in the future, the site will also be able to create ads that it will sell to third parties that want to run them.
While the platform will allow advertisers to sell ads directly to consumers, they will still need to purchase them through Next's platform to do so.
The same goes for ads that users can buy through other sites that offer subscription options.
There are also plans for other types of ads to be created on the platform, including pop-up ads and a new category of ads that allow users to search for and buy ads that will run on the Next website.
The ads will be available on all types of websites, including news websites, social media sites, and more.
The advertising model also means that Next.tv will be able sell advertising to advertisers on the web.
The website will also sell advertising through its own ad exchange, allowing brands and marketers to create ad-free ads that have no affiliation with advertisers, and will be sold directly to viewers.
And if they want to sell those ads to third-party advertisers, they can do so as well.
And the company says it will be partnering with a number of advertisers, including Verizon, which will offer Next.TV users a free tier that includes access to their own paid ad inventory.
The content offered on the service is also completely ad-supported.
That means users won't need any special browser extensions or plugins to see the ads they want on the website.
What Next.web is doing here is a step in the right direction, and the company has taken it as far as it can, but the fact that the platform is free means that it's not going to be perfect, and it's going to need some more time to grow.
In the meantime, Next has already been embraced by major advertisers, like Verizon and Time Warner, and now it's looking to tap into the larger tech market.
But in order for companies like Next to succeed, they need to have a solid product and the ability to grow in a way that doesn't rely on people paying to use their services.
Posted byadmin October 27, 2021 Posted inBlogTags: digital advertising products, digital product ads
Digital product course: 3-week digital product class
Digital product is a new type of product that has come along since the early days of digital publishing.
Now, it is the latest and greatest form of digital media.
With it comes new challenges and challenges to understand and deal with.
This digital product tutorial will guide you through the process of learning digital product.
Learn more about the Digital Product course.
Posted byadmin October 27, 2021 Posted inServiceTags: custom digital product, digital product course
How to Make Your Own Lemon Digital Production
It's a long-held tradition for anyone who makes something from scratch to get their own digital production software.
But that's changing.
Today, many of the most well-known brands in the world, from Facebook to Google, are using their own software to produce their own content.
These companies are able to control the quality of the final product they produce by leveraging their own technology and cutting out a lot of the middlemen.
But they still need to source the most skilled, talented artists.
We've rounded up 10 of the best digital producers in the business to show you how to make your own digital content.
Posted byadmin October 26, 2021 Posted inServiceTags: buy digital products, digital om productions, digital product design, digital products international, lemon digital production
How to build a $1.5bn digital product company
Digital product management, also known as digital production, has become a hot tech topic.
Its use has become ubiquitous, thanks to the proliferation of devices such as the iPhone, iPads, and other digital devices that are capable of producing content for consumers.
The advent of the Internet, however, has also made the process of producing and distributing digital content more difficult.
Now, with the arrival of the Apple Watch and other wearable products, digital product management is increasingly being used by startups and even some big companies to create a digital product that's more accessible than ever before.
Digital product managers have also started to see their roles as more of a team effort.
"We're all doing a lot of collaboration," says Adam Smith, CEO of the New York-based Digital Product Group, a group that manages a variety of digital product teams including product management at startups.
"That makes a lot more sense.
The team is more aligned."
Product management in this sense has evolved from being a job that required an engineer to produce a product, Smith says.
It's now an opportunity for the person responsible for the product, or team, to take on the role of an artist.
The goal is to deliver the content, or ideas, that the team needs to build the product.
The job is similar to the one the product manager does at a music or video production studio: to make sure that the artists are able to collaborate with the team, which can help create the most compelling product possible.
Product managers are in the same boat as their artists and musicians, and are looking for ways to help them produce the best content possible.
But with the advent of wearable technology, the team also has to become more creative with the way the product is designed and built.
The wearable devices that can be controlled by a smartwatch, for example, allow the team to control the interface with their hands.
They also allow them to have more control over the user experience.
"The next step is for us to become a little more creative, because if we don't we're going to lose some of the things that the band does," Smith says, adding that he hopes that wearable devices can be used to help create a better product.
Smith is one of the early pioneers of this kind of collaboration.
Back in 2013, he started a team at his firm to build what would eventually become the AppleWatch, and he says that while there were a few challenges, the project was successful.
"There was a lot that went into making it successful, and we were fortunate that we had a team that had some great talent," he says.
The Apple Watch, like the Apple Music streaming service, was initially a concept designed by the company for music fans.
It was created as a way to provide an alternative to the traditional music subscription service, and was designed for use with the Apple iPhone, the company's main device.
The product is still in beta, but Smith says that the company is already working on the next version, which will be built with new software.
"I think we're very close to releasing the next release, which is going to be built for the Apple watch," Smith tells TechCrunch.
"But I can't give a date yet because the hardware is still pretty far along."
While it's possible that the Applewatch will be a bigger hit than the original Apple Music, Smith argues that the more people that use it, the better it will be.
"Ultimately, the more we can get people using it, it will get more people to want to pay for it, because there's a certain kind of consumer that will pay for music," Smith explains.
He says that even if it doesn't sell as well as the original, the next iteration of the product will still provide the best experience.
The problem, he says, is that most people will just pay for the device as a music subscription.
"It will never be a way for people to experience music.
It won't be a real way to listen to music," he explains.
"So what happens when we take that away?
If we take it away from people, we're not going to have a chance to learn about music, and that's going to hurt us in the long run."
Smith believes that people should pay for content that they want to hear, but he adds that this will also lead to an increase in piracy.
"If the music that people listen to is not good, it's going out of business," Smith points out.
"People are going to stop listening to music."
The problem with pirating music, however (and with the fact that the average age of the music listening population has declined significantly), is that it's very difficult to track and track down individual pirates.
That means that, despite being able to track individual users, it still remains difficult for the company to identify and track the sources of infringing material.
The only way to stop it is to get the music out of
Posted byadmin October 22, 2021 Posted inBlogTags: digital product analyst, digital product dj, digital product strategy, digital production studio
How to use Mapbox's map to make money
Digital map products have become a popular way to monetize digital content.
Now, a new digital map business called Mapbox is offering a new way to sell map products and offer their users the best user experience.
The company says it's the first company to make a product available through its own website, and it's currently offering a free map that's been downloaded over 2 million times.
The map, which the company calls the Google Maps Map, includes data for nearly 500 million locations.
Mapbox says the map's creators hope it'll help users make a living selling map products.
Here's what it's all about:When users download the map, they get access to the full map as well as the Google Map product, which includes a lot of data about the map.
They can zoom into areas on the map and find out what roads lead to the places they want to visit, where there's a high concentration of businesses, and how much traffic there is around the location.
They also get the option to view the map with their own smartphone, which means they can see the map on any device with a web browser.
Mapbox says it has over 300,000 registered users, and that's growing fast.
Users have downloaded over 1 million maps, and the company says the average map purchase lasts just under a week.
MapBox says it currently has an office in London, with a goal of expanding to more cities in the future.
Its CEO, Richard Durner, says the company has made significant investments in digital mapping.
He says he wants to make the product the best possible way to create a map, and he's hoping to offer a lot more in the next few years.
Mapmakers are using maps to make products like the Google maps, which are available for free on the company's website.
Durners map business is the first map maker to make an app available through a website.
The company is also adding a "Digital Map Platform" to the map platform.
The Digital Map Platform allows users to customize their maps.
Users can buy maps on the platform or pay for them by using the Google or Bing maps.
The digital map businesses are creating products like this because, they say, digital maps can be a big part of the future of how people use maps.
In fact, the companies that make these products have found that their customers are interested in what the maps can tell them about their locations.
The Mapbox Map uses real-time satellite imagery to make its maps available to its users.
It's also the first product that uses real time data to deliver maps to users.
The maps include real-world locations, which can give people a better understanding of where they live.
Durners company is selling the map for $29.99 per month.
For $7.99 you can download a free version that includes a map and a map app that can be used on any mobile device.
You can also use the Mapbox app to create maps that can easily be shared with friends and family.
You'll also get access over the next three months to an API that enables you to make your own maps.
If you're looking to sell a map or a map product to users, you might want to consider using the MapBox App, which is the Google map app.
Users get access and control over the maps on their own phones.
The app lets users customize the maps and see the results in real time.
The Maps app has been downloaded more than 2 million time, which Durnors company says is a pretty good amount of data.
The Mapbox map is also available for $19.99.
If this sounds appealing to you, you can sign up for Mapbox today.
Posted byadmin October 22, 2021 Posted inServiceTags: digital map products, online digital products


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East County Wednesday, Sep. 25, 2019 3 months ago
Loss of hearing can result in fatigue, memory loss and social isolation.
by: Pam Eubanks Senior Editor
Before Ed Ogiba went deaf, his hearing became garbled.
He would be at an outing, such as a party or business meeting, with plenty of chatter and background noise. He might have nodded as if he'd heard the conversation, but his facial expressions gave him away.
"Often, I had people say, 'Ed, did you hear me?'" said Ogiba, a spokesman for the Hearing Loss Association of Sarasota. "I found myself saying, 'I heard you, but I didn't understand you.' I didn't know what that meant until I joined the Hearing Loss Association. … Most people think the solution is turning up the volume. That's not what you need. You hear most of the words. All it takes is not understanding one word to throw off understanding."
Ogiba said that like lead in a sharpened pencil, hearing dulls with time.
According to the Center for Hearing and Communication, a nonprofit that provides health care for people with hearing loss and auditory challenges, one in three people over the age of 65 have hearing loss, and two in three people over the age of 75 have hearing loss.
When you hear something, that sound travels into the ear, begins to vibrate the eardrum and then travels into the cochlea (the inner ear), where tiny hair cells amplify the sound and send that information to the brain.
"It's in the brain [where] we actually hear," said audiologist Dr. Lyndsey Nalu, of Adept Audiology in Sarasota. "It's the
Potential signs of early hearing loss
Difficulty understanding consonants, especially high-frequency sounds
Turning up the volume on the TV
Ringing or constant noise in the ear (tinnitus)
Difficulty hearing conversations when there are other background noises
Feeling like people are "mumbling"
Asking others to repeat themselves frequently
Feeling social isolation
Having increased fatigue and stress
brain that processes that information. Your brain atrophies, and that affects how clearly you process speech over time."
Nalu said hearing loss is inevitable as you age because those hair cells begin to deteriorate; that means some sounds no longer get to the brain, which is then no longer being stimulated.
That's why taking care of hearing loss early is so important, Nalu said. As hearing loss increases, the brain must work harder to interpret the sounds it receives and will begin creating neurological pathways to parts of the brain that are normally used for other functions, such as memory.
The longer that atrophy occurs, the less likely it can be corrected.
"Once it's gone, it's typically gone," Nalu said.
Hearing aids — not sound amplifiers — help the brain reroute those neurological connections, so the sound goes to the proper part of the brain again, Nalu said.
Many people with hearing loss experience symptoms of fatigue and memory loss because other parts of the brain are strained. They also tend to become more isolated because understanding conversations is difficult.
"It affects us emotionally," Ogiba said. "Helen Keller said it best: 'With blindness, you lose things.' That's not as bad as hearing loss because, 'With hearing loss, you lose people.' Most people with hearing loss become isolated pretty quickly."
Ogiba has learned to read lips and has taken advantage of other techniques to help improve his hearing and conversations. He said those soft skills have improved his hearing by 40%. Beyond that, he uses 11 devices to assist with his hearing, including a program that transcribes phone conversations.
He said navigating which hearing device or tools to use can be overwhelming, but audiologists and organizations including Hearing Loss Association are there to help.
Nalu said most people do not use as many tools as Ogiba, but there are plenty of them available to help those struggling to hear.
The first step, however, is getting your hearing checked by an audiologist each year as if it were a vision test or your annual dentist visit, Nalu said. Such exams should start around age 60, or earlier if you suspect hearing loss. She said Medicare even covers the cost of that exam.
"You've got to think of hearing loss as preventative," Nalu said. "You're stimulating your brain. You're able to preserve brain function by keeping your brain active. And you're able to improve communication, which will ultimately improve your quality of life."
The base test checks your reaction to low- and high-pitched sounds and checks how well you understand words. Typically, the high-frequency loss — sounds with "S," "T" or "P" — comes first and makes sounds more garbled, Nalu said.
If your hearing loss becomes significant enough, a hearing aid might be helpful. Nalu said hearing aids have advanced, and there are hundreds of styles available. Many even connect to Bluetooth, which allows users to easily hear on their cellphones.
Nalu said that although many people worry about looking "old" or the hearing aids being noticeable, most of the devices are now discreet. She said vanity should not keep you from engaging more with friends and loved ones.
"What's more noticeable, your hearing aid or your hearing loss?" Nalu said.
The cost of hearing aids typically ranges from $2,000 to $6,000, but that does include service on the equipment for the life of the hearing aid.
A cochlear implant, which is a replacement of the entire cochlea, works best when hearing aids become ineffective.
Ogiba and Nalu said individuals can help preserve the hearing they have and help keep it longer simply by being aware of volume. If it's at 85 decibels or more, you are at risk for damage to your ears.
Nalu recommends wearing earplugs in loud situations and avoiding exposure to loud noise when possible. If you or a loved one uses headphones, ensure the volume is low enough to hear outside conversations, and limit louder noises to 30 minutes.
And if you think you might be losing your hearing, don't put off a visit to the audiologist. Nalu said the average person waits seven to 10 years to get hearing loss checked, and by then, much of the loss is irreversible.
"Stop waiting," Nalu said. "We know delayed treatment affects brain function and cognitive abilities."
Lakewood Ranch triathlete searches for his limits

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Monitoring queue having old message We have a queue which needs to be monitored for message not being processed for a long time.
we set QSVCINT(1800000) that is 30 mins.
This event occurs only if there is no successful get operations or MQPUT calls have been detected within an interval greater than the limit specified. (30 minutes)
In our case queue is continuously getting message(MQPUT) in 30 minutes interval of time, so service interval high is not triggered.
Do we have any alternative to check the age of the message and get alerted?

A: Before answering the question, let's reset a slight misconception in the premise.  Queue Service Interval measures the time between a PUT to an empty queue or a GET that does not empty the queue and the next GET.  So the reason that you are not getting any event messages is not due to PUT activity but rather to a lack of GET activity that would trigger an event.  In other words, once the queue has depth, you will not get any QSVCINTVL events until a GET occurs.  Also, the events toggle between OK and HIGH so that once you get a HIGH you will not get another HIGH but should eventually see an OK.  Once you get the OK event you won't get another until a HIGH condition occurs as a result of a late GET.
So imagine that a program puts 10 messages on the queue and another reads the first message and then dies.  The PUT calls will not generate an event but will start the timer.  Since the now-non-empty queue defaults to an OK interval state, no event is enerated on the first GET which we stipulated occured immediately.  Since there were no subsequent GET calls, the timer continues to run but no event will be generated.  New messages can continue to arrive but the event will only trigger at this point on a GET call that occurs 30 or more minutes after the one successful GET.
If you were hoping to get a QSVCINTVL(HIGH) event base don no GET activity for more than 30 miniutes, it does not work that way.
Still with me?  Great!  Now on to the answer.
If you display the queue status (for example using the DIS QS(QUEUE.NAME) command) it provides the last GET time and date.  The DIS QL(QUEUE.NAME) CURDEPTH command provides the depth of the queue.  These two commands can be issued to runmqsc in scripts or directly to the command server using PCF commands and will allow you to directly inquire as to the time since the last successful GET on the queue, irrespective of any GET activity such as that required to drive events.
Using this method you can first validate that the queue has depth (because presumably we don't care if there are no GET calls on an empty queue) and then if so, see how long it's been since the last GET even if the consuming program has died and there are no GET calls being made.
Hope that helps.

redpajama_set_name: RedPajamaStackExchange


We had created our own password type grant where user was sending his username and password over the wire to validate on our server and then getting an access token. Although this is ok but we would like to stop users from sending username and password over the wire. To achieve that in this tutorial, we will create a new grant type – Facebook grant type where the user will send an access token which he will get from Facebook oauth server and send to our server. We will validate the access token and then send him an access token using which he can access resources on our server. In this entire process as you can see, the user doesn't need to send his username and password to our server at any point of time.
As per the flow, we will first login to the front end application where we have implemented Facebook login. When the user logs in, Facebook will allow us to get an access token along with the user object.
We will send this access token to a URL on our server where we will first validate whether the access token is a valid one from FB server using the Facebook SDK. Once we know that the access token is valid, we will check if the user already exist in our database. If it does, we will update his profile and if not then we will create his user account which won't have any password because he will not be able to login to our application with this account.
And lastly, we will send him an access token as we were going using the password type grant.
The advantage of this method is that we are not giving the user any sign up form or a separate login credentials to remember and also the user will not have to send his sensitive information over the wire. This is especially useful when we have a mobile application communicating with the server. We cannot store the user credentials on mobile but we need to somehow make sure he is not logging in every time he is trying to use the application. This is where the access token is very useful to store and use.


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As you may be aware, both myself and my colleague, Holly Ramsey, have now started our training with Giles Wilson with the aim of becoming solicitors after a period of 2 years. On top of this, we both also attend university one day a week to study for our Legal Practice qualification.
The step from being a Paralegal to a Trainee Solicitor has been more recognisable than I thought it would be, not only due to the increased workload, but also the different type of tasks that we have been asked to do by our supervising solicitors.
Whilst I have stayed under the supervision of Philip and Caroline in the Family and Civil Litigation departments, Holly has moved over to the Private Client and Court of Protection Department, supervised by Melinda. The work we have been given, whether it be drafting legal documents, researching a niche area of the law or communicating directly with clients has given us both a good taste of what it means to be a solicitor.
The one key thing I have learnt so far is that efficiency is a key skill and invaluable to the firm. Due to the gradual increase in the complexity of the work we are given, it is imperative to work carefully and to a high standard, but with a mind of the time spent on each task. Too long spent on a task would make for inefficient practice, and would not impress the client when they receive the final bill! I feel that it is important for every trainee, in whichever area of law they work in, to get to grips with this key skill as quickly as possible early in their training contract.
In some respects both Holly and I are lucky, as we combine a full-time training contract with part-time study. This means that throughout the duration of our training contracts, the new areas of law that we learn at university will be fresh in the mind, and should help us in completing new tasks to a high standard in a minimal amount of time.
As we are both in the early part of our training, there is still a lot to learn (as well as a lot of studying!). We will of course give you updates as to how we are getting along.


Capistrano Elementary School was put on lockdown shortly for close to two hours on Tuesday.
Chris Lechuga, a Ysleta Independent School District spokesman, said the district was advised by the El Paso Police Department that a suspicious package was found near the school.
As a precaution, the school was put on lockdown. Police said that children are not in danger.
School officials are releasing students to parents through the Northwest exit, which is the main entrance of the building and furthest point from the suspicious package.


text:
Domaine Joseph Colin, St Aubin L...
Domaine Joseph Colin, St Aubin La Châtenière Premier Cru, 2017
icon-type Type
icon-year Year
icon-style Style
icon-country Country
icon-alcohollevel Alcohol level
icon-grapevariety Grape variety
Chardonnay 100%
Joseph describes his plot in Chatenière as late-ripening - he picks it last of all - making fresh, bright wines. It is so steep that he leaves it grassed-over to avoid erosion.
2017 was a hot year and the grapes were small; this has a lovely core of fruit and a soft touch on the palate despite the good acidity.
About Domaine Joseph Colin
Joseph is the son of Marc Colin, and the younger brother of Pierre-Yves Colin.
In 1993, at the age of 19, Joseph began working full-time at Domaine Marc Colin. For the next ten years Joseph worked alongside his father and older brother until Pierre-Yves left Marc Colin in 2003 to create his own Domaine – Domaine Joseph Colin
Joseph effectively started his own domaine in 2017 with approximately 6 ha of vines from the original Domaine Marc Colin
Chardonnay is a green-skinned grape variety used in the production of white wine. The variety originated in the Burgundy wine region of eastern France, but is now grown wherever wine is produced, from England to New Zealand. For new and developing wine regions, growing Chardonnay is seen as a 'rite of passage' and an easy entry into the international wine market.
The Chardonnay grape itself is neutral, with many of the flavours commonly associated with the wine being derived from such influences as terroir and oak. It is vinified in many different styles, from the lean, crisply mineral wines of Chablis, France, to New World wines with oak and tropical fruit flavours. In cool climates (such as Chablis and the Carneros AVA of California), Chardonnay wine tends to be medium to light body with noticeable acidity and flavours of green plum, apple, and pear. In warmer locations (such as the Adelaide Hills and Mornington Peninsula in Australia and Gisborne and Marlborough region of New Zealand), the flavours become more citrus, peach, and melon, while in very warm locations (such as the Central Coast AVA of California), more fig and tropical fruit notes such as banana and mango come out. Wines that have gone through malolactic fermentation tend to have softer acidity and fruit flavours with buttery mouthfeel and hazelnut notes.
Chardonnay is an important component of many sparkling wines around the world, including Champagne and Franciacorta in Italy.
Chardonnay's popularity peaked in the late 1980s, then gave way to a backlash among those wine connoisseurs who saw the grape as a leading negative component of the globalisation of wine. Nonetheless, it is one of the most widely planted grape varieties, with 210,000 hectares (520,000 acres) worldwide, second only to Airén among white wine grapes and fifth among all wine grapes.
Chardonnay lends itself to almost any style of wine making from dry still wines, to sparkling wines to sweet late harvest and even botrytized wines (though its susceptibility to other less favourable rot makes these wines rarer). The two winemaking decisions that most widely affect the end result of a Chardonnay wine is whether or not to use malolactic fermentation and the degree of oak influence used for the wine. With malolactic fermentation (or MLF), the harder malic acid gets converted into the softer lactic acid, and diacetyl which creates the "buttery-ness" that is associated with some styles of Chardonnay. The wines that do not go through MLF will have more green (unripe) apple like flavours. Oak can be introduced during fermentation or after in the form of the barrel aging. Depending on the amount of charring that the oak was treated with, this can introduce a "toastiness" and flavours that many wine drinkers mistake as a characteristic of the grape itself. These flavours can include caramel, cream, smoke, spice, coconut, cinnamon, cloves and vanilla.
Other winemaking decisions that can have a significant effect include the temperature of fermentation and what time, if any, that the wine allowed to spend aging on the lees. Burgundian winemaking tends to favour extended contact on the lees and even "stirring up" the lees within the wine while it is aging in the barrel in a process known as bâttonage. Colder fermentation temperatures produces more "tropical" fruit flavours like mango and pineapple. The "Old World" style of winemaking favours the use of wild, or ambient yeast, though some will also use specially cultivated yeast that can impart aromatic qualities to the wine. A particular style of yeast used in Champagne is the Prise de Mousse that is cultivated for use worldwide in sparkling Chardonnay wines. A potential drawback of using wild yeast is that the fermentation process can go very slow with the results of the yeasts being very unpredictable and producing potentially a very different wine each year. One Burgundian winemaker that favours the use of only wild yeast is Domaine des Comtes Lafon which had the fermentation of its 1963 Chardonnay batch take 5 years to complete when the fermentation process normally only takes a matter of weeks.
The time of harvesting is a crucial decision because the grape quickly begins to lose acidity as it ripens. For sparkling wine production, the grapes will be harvested early and slightly unripe to maintain the acid levels. Sparkling Chardonnay based wines tend to exhibit more floral and steely flavours in their youth. As the wine ages, particularly if it spends significant time on lees, the wines will develop "toasty" notes. Chardonnay grapes usually have little trouble developing sugar content, even in cooler climates, which translates into high potential alcohol levels and limits the need for chaptalisation. On the flip side, low acid levels can be a concern which make the wine taste "flabby" and dull. Winemakers can counteract this by adding tartaric acid in a process known as "acidification". In cooler climates, the extract and acidity of Chardonnay is magnified which has the potential of producing very concentrated wines that can develop through bottle aging. Chardonnay can blend well with other grapes and still maintain some of its unique character. The grapes most often blended with Chardonnay include Chenin Blanc, Colombard and Sémillon.
Due to the "malleability" of Chardonnay in winemaking and its ability to reflect its terroir, there is not one distinct universal "style" or set of constants that could be applied to Chardonnay made across the globe. According to Jancis Robinson, a sense of "smokiness" is one clue that could be picked up in a blind tasting of Chardonnay but there are many styles that do not have any "smoky" notes. Compared to other white wine grapes like Sauvignon Blanc, Gewürztraminer and Viognier-Chardonnay has a more subtle and muted nose with no overwhelming aromatics that jump out of the wine glass. The identifying styles of Chardonnay are regionally based. For example, pineapple notes are more commonly associated with Chardonnay from Napa Valley while Chablis will have more notes of green apples. While many examples of Chardonnay can benefit from a few years of bottle aging, especially if they have high acidity, most Chardonnays are meant to be consumed in their youth. A notable exception to this is the most premium examples of Chablis and white Burgundies.
Alternative Names: Morillon, Pinot Chardonnay, Feiner Weisser Burgunder
About Saint-Aubin
Saint-Aubin is a village in the Côte de Beaune sub-region of Burgundy, nestled between the hillsides of a sub-valley in the Côte d'Or escarpment, known for both red and (mainly) white wines from the Pinot Noir and Chardonnay grape varieties.
While not the most famous of the Côte d'Or villages, Saint-Aubin is one of Burgundy's top performing wine communes in terms of both volume and vineyard quality; nearly three-quarters of its sites have premier cru status. As well, while Saint-Aubin wines are rarely considered to be among the region's finest, they are known for offering excellent value for money and can provide a good introduction to Burgundy wines of both colours.
Even within the past 20 years, the village was known for its rustic red wines made from Pinot Noir. Today, however, with the ever increasing popularity of Côte de Beaune whites, the growers and domaines of Saint-Aubin have rapidly turned to Chardonnay as their grape variety of choice. The success of neighbouring Puligny-Montrachet and Chassagne-Montrachet (both dominated by white wines) has been the major driver in this rapid about-turn. Nowadays around 113 hectares (279 acres) of Saint-Aubin vineyards are planted to Chardonnay compared to 44ha (109 acres) of Pinot Noir vines.
The Saint-Aubin appellation was introduced in 1937, at the same time as most of the other Côte d'Or communal titles. It underwent its official premier cru classification in 1977, three years before its more prestigious neighbours just to the east. The premier cru sites marked out in that process remain today and their wines may claim the title Saint-Aubin Premier Cru.
The commune boundaries also include the village of Gamay, which may have Gamay grape variety, which is responsible for the distinctive wines of Beaujolais. In fact, it is around this small village that the best Saint-Aubin vineyards are located.
75cl / Case of 6 - New Stock Soon 75cl / Bottle - New Stock Soon


text:
Albion complete £1.3m project
Baggies open doors to new Academy 'footballing hub'
ALBION have opened the doors to their new Academy base following a £1.3million redevelopment on Halfords Lane.
In November, the club finished the installation of a full-size, floodlit, fourth-generation UEFA two-star artificial pitch next to the Indoor Training facility, which stages Academy training sessions and matches.
To complement the artificial pitch, work to refurbish the former Albion Foundation building for Academy use has been completed and it now houses changing rooms for players, coaching staff and officials, a medical room, offices, classrooms and a parents' meeting room.
The club undertook the works as part of their commitment to achieving Category One status under the new Elite Player Performance Plan (EPPP), which they were awarded by the Independent Standards Organisation on behalf of the Premier League in December.
Sporting & Technical Director (Designate) Richard Garlick said: "The new facilities are part of the club's wider investment in the Academy.
"We are endeavouring to create the best environment in which to develop and nurture young talent.
"When the Premier League saw our plans for the redevelopment of the Halfords Lane site, they described it as 'the creation of a footballing hub' - and we believe that is exactly what we have achieved."
The newly-refurbished building will house the Baggies' 20 Academy staff.
It will be utilised for the footballing and educational needs of more than 200 players aged between six and 18.
Academy Manager Mark Harrison added: "We now have fantastic purpose-built facilities located on one site.
"We also have Sandwell Academy School, where our players enjoy a full-time programme, right on the doorstep.
"The World-renowned football club academies talk about creating a family feel.
"We've got a really good family culture at the club already and now we have a central hub where we can endorse and develop even further the work we do.
"A massive thank you must go to Mark Miles [Albion's Head of Facility Operations & Development] who. with his team, has created a top-notch environment for us to work in with our players and their parents."


text:
Ларс Микаэль Уландер (; ) — шведский легкоатлет, специалист по многоборьям. Выступал за сборную Швеции по лёгкой атлетике в 1980-х годах, чемпион Швеции в пятиборье и десятиборье, участник летних Олимпийских игр в Сеуле.

Биография
Микаэль Уландер родился 11 июня 1963 года в Йёнчёпинге.

Занимался лёгкой атлетикой в городе Уппсала в местном одноимённом клубе Upsala IF.

Впервые заявил о себе на взрослом международном уровне в сезоне 1984 года, когда вошёл в состав шведской национальной сборной и выступил на крупных международных соревнованиях Hypo-Meeting в Австрии, где с результатом в 7175 очков закрыл в десятиборье двадцатку сильнейших.

В 1985 году стал серебряным призёром чемпионата Швеции в десятиборье, уступив только Стену Экбергу.

На чемпионате Швеции 1986 года превзошёл всех своих соперников в десятиборье и завоевал золотую медаль. Представлял страну на чемпионате Европы в Штутгарте, где показал лучший результат в метании копья и занял итоговое 12-е место.

В 1987 году выиграл чемпионат Швеции в программе пятиборья. На чемпионате мира в Риме с результатом в 7696 очков в десятиборье стал пятнадцатым.

Будучи студентом Университета штата Луизиана, неоднократно принимал участие в различных студенческих соревнованиях в США, в частности в 1988 году выиграл десятиборье в первом дивизионе чемпионата Национальной ассоциации студенческого спорта. Благодаря череде удачных выступлений удостоился права защищать честь страны на летних Олимпийских играх в Сеуле — набрал в сумме всех дисциплин десятиборья 7869 очков, расположившись в итоговом протоколе соревнований на 17-й строке.

Впоследствии проявил себя в бизнесе, с 2012 года занимает руководящие посты в компании Bygghemma Group.

Примечания

Многоборцы Швеции
Легкоатлеты на летних Олимпийских играх 1988 года
Чемпионы Швеции по лёгкой атлетике

redpajama_set_name: RedPajamaWikipedia


Congratulations to the twelve of APBC's finest who traveled the short distance to Port Melbourne on Sunday and successfully defended the Port Phillip Shield. This Shield is annually contested between the neighbouring clubs of Port Melbourne, Albert Park, Middle Park and Saint Kilda. This year due to green restrictions each side was limited to just three rinks. AP started off well, defeating St Kilda by 2 rinks to 1 and +4 shots overall. After breaking for a hearty lunch the second match saw AP defeat Middle Pk, again by 2 rinks to 1 and a few shots up overall. Our final match was against Port Melbourne who also seemed to have won both their matches although rink and shot details were hard to come by. This led to much speculation about what was needed to get past the winning post. However AP again did well and won by shots up overall, although they did narrowly lose 2 of the 3 rinks. Presumably the organizers would know what this meant in determining the overall winner. After some deliberation it was announced that both APBC and Port Melbourne had finished on the same number of points and so the result would be determined by total shots up of which APBC had +15 while Port Melbourne had just +2! So the Shield was retained by Albert Park. Well done!


Gilda's Club Western New York is hosting its annual Gingerbread…Gifts…Glitz event. The event runs from December 1-4 and will be held at the Gilda's Club clubhouse located at 1140 Delaware Avenue, corner of West Ferry, in Buffalo.
The Gingerbread….Gifts…Glitz event kicks off with a preview cocktail party on Thursday, December 1 from 5:30 p.m. to 8:30 p.m. The cocktail party will have a special preview of over 20 local artists who will be selling jewelry, pottery, photography, Buffalo-themed gifts, and more! These artists generously donate 20% of their profits to Gilda's Club Western New York. The tickets for the cocktail party are $50 per person and can be ordered by calling (716) 332-5900 ext. 203 or by visiting the event website at www.gingerbreadevent.org.
The clubhouse will be open to the public Friday, December 2 from 5:00 p.m. to 9:00 p.m. and Saturday, December 3 and Sunday, December 4 from 11:00 a.m. to 6:00 p.m. This event is the perfect place to start your holiday shopping with local artists selling their unique gift items as part of the Artists in Buffalo: Holiday Open Studios and Galleries weekend.
The event also features a very popular gingerbread auction and sale. There will be several prizes awarded in four different categories: professional, amateur, college and high school students.
Gilda's Club Western New York is a non-profit support community for men, women and children who are living with cancer, as well as their families and friends. Membership is offered free of charge to people at any stage of their experience with cancer. Through participation in groups, lectures, workshops and social events, members build social and emotional support and learn to live with cancer. Gilda's Club WNY is an affiliate of The Center for Hospice & Palliative Care, one of the nation's largest hospice and palliative care programs, located in Cheektowaga, NY. Gilda's Club WNY is also an affiliate of the Cancer Support Community, and serves the eight counties of Western New York. For more information about Gilda's Club WNY, call 716.332.5900 or visit www.gildasclubwny.org.


Capitol Hill Cooperative Playschool is a cooperative, wholly parent staffed playschool for Capitol Hill 2 year olds. CHCPS is non-denominational. The CHCPS experience provides a warm, supportive environment for 2-year-old play as well as the opportunity for parents to meet other families in the neighborhood.
Generally the playschool begins at 9:15am and ends at 12:30pm. Often, duty parents take children on an outing.
Children may attend 2 mornings per week (Mon/Wed or Tues/Thurs), 1 morning per week (Friday), or 3 mornings per week (one of the 2-morning groups plus Fridays). Families apply for the class(es) they wish to attend in the lottery. Once families are chosen through the lottery, three playschool groups are formed based on order of lottery selection one for Mon/Wed, one for Tues/Thurs, and one for Friday.


"What about Sontag?," I asked. I'd recently found a paperback of her essays while reorganizing my library, a book that hadn't been touched in 45 years.
The writer Susan Sontag published a short essay in 1964 that rocked the art world. In Against Interpretation, she argued hermeneutics was deadly. Art criticism required an art object to be experienced (seen, heard, felt), not interpreted (analyzed, intellectualized, translated). Sontag was speaking of painting, literature, music, film, and photography, but she might well have included architecture. Interpretation (the act of translating art content into meaning, she called it) "amounts to the philistine refusal to leave the work of art alone." Her indictment set off a great disturbance in the force.
Sontag recommended critics focus on form, not content, a position that went against much of art theory and many theorists. She noted early artifacts were made as tools, not expressions of beauty. In the beginning, art, to the extent that it existed on utensils, clothing, and shelter, were depictions of reality, such as animals and human figures. Over time, mimesis borrowed from cultural myths, epochal meta-narratives, and foundational texts. From simple line work on cave walls grew heroic battles on canvas, religious scenes on tapestry, and moral tales rendered in oils, bas-relief, and stone. Metaphor, allegory, and simile evolved. Alphabets developed, and literature arose. For most of history, what we today call the Arts were communication devices, mass media acting as the social glue of cultural cohesion.
But art went abstract in the modern era, Sontag noted. Its days of serving as a messenger were over. She wondered why contemporary art critics hadn't noticed. Welcome to the 20th Century, her essay essentially said. Leave relics to the historians and narrative devices off the table. Get ye a new program. Use a modern approach to critique modern art.
Kipling wrote The Conundrum of the Workshops seventy-five years earlier than Sontag's reasoned rant, but he, too, knocked criticism. His poem was a subtle rejoinder that there would always be some devil questioning a work's artistic value. One of his stanzas poked fun at architecture critics.
I suspect more than a few of my peers would agree with Kipling's chide and Sontag's diss. "The building speaks for itself" is a common refrain (sung with arms folded) by contemporary architects when challenged with, "I can't figure out what your building is about, what it's trying to say." It's a curious reaction because architects live themselves in constant evaluation mode, a voice in their head forever asking, Do I like that? Should I like that? Architects are quick to make binary proclamations of good and bad, or slowly hedge their bets through nebulous prose. Architects, it seems, are the devils of Kipling's complaint, but they can't take the heat.
But where Kipling satirized, Sontag guided. "I am not saying that works of art are ineffable, that they cannot be described or paraphrased. They can be. The question is how." Instead of trying to unearth meaning, Sontag lobbied for a new language, a "vocabulary of forms." She called transparence the experience of art and its highest value. You could transmit the universal essence of a work with words. You just needed the right lingua franca.
Objectivity is a view supported by fact and unfettered by prejudice or instinct. In science, objective prose is de rigueur to keep personal opinion (subjectivity) at bay. In law, too, impartial language underpins the doctrine of fairness. Both fields guard against written or oral bias—Objection, Your Honor! Counsel is leading the witness. Law and science, thus, favor scrupulously objective prose, and this is good. The downside is that slogging through a law journal or scientific paper can be tedious.
Nonpartisan prose is also the preference of building codes, construction cost studies, efficiency and performance reports. Many building parameters can be empirically quantified or measured. Describing the ethereal qualities of space, form, and light, however, is a different matter. Justice is Blind may be inscribed on courthouse entablatures, but aesthetics defy objectivity. The Art of architecture begins with the immeasurable and ends unmeasured, according to Louis Kahn. In discussing art, subjectivity reigns—or should.
Kipling complained of countless unenlightened and unenlightening opinions. His "builded tower" was in Babel. Architecture's strangest tongue is archispeak, the jargon of academics and scholarly texts. At the other extreme is the quotidian banter favored by lifestyle and fashion magazines when they cover buildings. In between are nondescript treatments found in home improvement publications, the dispassionate tone of general architecture books, newspaper journalistic tenor, and the formal compositions of historians. Then there are trade papers presenting buildings in engineering and technology terms, and the docile writing of American architectural journals and monographs. (British writers are more cheeky, which make them eminently more fun to read). On this side of the pond, architectural commentary exudes the stuffy air of trying not to lead a witness. I disagree with the position. In Art's court of public opinion, not saying much isn't saying much.
In contrast to banal architectural prose are those wearing subjectivity on their sleeves. The spectrum includes social media and professional critics. Passions run from acerbic to portentous to glowing when editorializing what an architect meant, or a building means.
Sontag was opposed to extracting meaning through interpretation, negative on looking for metaphors or reading between the lines, and against seeing in a work that which may not, or no longer be, relevant. She disapproved of artist statements and of critics psychoanalyzing artists' lives. Instead, Sontag said critics should concentrate on a work's appearance, or what she called, it's "form." The 1960s was a time when architects were exploring the aesthetic of forms following function. Movements come and movements go, and sometimes they return. Fifty years later, new modern-ish buildings abound, but without the social conscience that grounded modernism. In place of a better world order is the empty formalism Sontag may have written about, shapes and surfaces that disinvite symbolism.
In Sontag's fancy, critical interpretation, hateful or admiring, was valueless. So, if looking for deep meaning wasn't what critics should do anymore, what was the purpose of art commentary in Sontag's view? I think she would have said awareness, that the highest and best use of criticism was to persuade broad audiences to visit extraordinary works.
But how? Sontag provided no guidance on her proposed vocabulary. My interpretation of her essay (which she would have been against) suggests an answer. Look at form, she repeatedly said, not at content. Sontag was a short story author and novelist. She knew the writer's rule, show, don't tell.
Sontag's opening line in Against Interpretation was: "The earliest experience of art must have been that it was incantatory, magical; art was an instrument of ritual." She began with an emotional hook invoking the occult. An implied mystery is in the offing. Tell me more goes through the reader's mind.
Sontag then established what writers call an inciting event,: the dawn of man, the time when art mimicked reality. Her narrative unfolded in chapter-like parts told from the first-person point of view. She took us through Homer's Greece and to Egypt for the story of Exodus, winding up at Marx and Freud. Her essay divided evenly into three acts, beginning, middle, and end. Throughout her narrative was enough rising action to keep readers on track to a climax: "Interpretation runs rampant here in those arts with a feeble and negligible avant-garde." The next to last chapter seemed to wrap up nicely as the plot led to a conclusion. But Sontag's denouement was a false ending. The final chapter was a surprise, a single-sentence punchline. Part 10 read: "In place of hermeneutics we need an erotics of art." The line conjures all sorts of possible meaning. Depending on interpretation, it's a twist that leaves readers smiling, or angry, perhaps even shattered.
Sontag didn't write an essay as much as penned a rebellious novelette. Art was the protagonist, critics the antagonist. The way she wrote was as meaningful as what she said. More than fifty years after its publication, Against Interpretation still resonates. It's part of art criticism's canon. No didactic essay arguing against interpreting art could have been as persuasive.
I had my answer for Bill. Moody Center was a Sontagian object, a superficial building no more profound than what you see is what you get. Alas, I said, it was a sign of the times. My heart raced. "Architects no longer imbue architecture with meaning, Bill, but not because of Sontag." I started to get loud. "Contemporary architects don't want their buildings interpreted because they have nothing to say." Given a world gone wild in social and environmental problems, that's an abdication of responsibility, I told him. Then I proclaimed, "Skin deep architecture is lazy architecture," and felt my blood pressure rise, then my arm. Then my fist balled up.
Featured photograph of the Moody Center for the Arts, designed by Michael Maltzan Architecture, taken by the author.


Use this portable power bank at home, in the office or when you are travelling to charge two devices simultaneously.
The handy LCD display reveals exactly how much power it has left so you know when you may need to plug it in. There's enough power within to charge a smartphone up to six times and a tablet up to two times.
The power bank offers protection against overcharging, short circuiting and overheating.


text:
Pediatric sciatic neuropathy presenting as painful leg: A case report and review of literature
Manish Prasad1, Mohamed Babiker1, Ganesh Rao2, Christopher Rittey1
1 Department of Pediatric Neurology, Sheffield Children's Hospital, Sheffield, United Kingdom
2 Department of Neurophysiology, Hallamshire Royal Hospital, Sheffield, United Kingdom
Date of Web Publication 7-Sep-2013
Manish Prasad
Pediatric Neurology Registrar, Department of Paediatric Neurology, Sheffield Children's Hospital, Sheffield, S10 2UH
Introduction: Mononeuropathies, in general, are very uncommon in childhood. Sciatic neuropathy (SN) is probably underappreciated in childhood and likely to represent nearly one quarter of childhood mononeuropathies. Materials and Methods: We present a 7-year-old girl who presented with painful right lower limb and abnormal gait. Detailed investigation revealed transient eosinophilia, abnormal neurophysiology, and magnetic resonance imaging (MRI) suggestive of isolated sciatic neuropathy. Results: She has responded very well to physiotherapy and has made a complete motor recovery, although she is left with an area of abnormal sensation affecting the lateral border of her right leg and the dorsum of her foot. Discussion: Differential diagnoses for pediatric SN have been discussed including compressive neuropathies in children and various hyper-eosinophilia syndromes. Compressive neuropathies in childhood are very rare and compression of the sciatic nerve is the second most common group after peroneal nerve lesion.
Keywords: Eosinophilia, hyper-eosinophilic syndrome, mononeuropathies, painful leg, sciatic neuropathy
Prasad M, Babiker M, Rao G, Rittey C. Pediatric sciatic neuropathy presenting as painful leg: A case report and review of literature . J Pediatr Neurosci 2013;8:161-4
Prasad M, Babiker M, Rao G, Rittey C. Pediatric sciatic neuropathy presenting as painful leg: A case report and review of literature . J Pediatr Neurosci [serial online] 2013 [cited 2022 Jan 16];8:161-4. Available from: https://www.pediatricneurosciences.com/text.asp?2013/8/2/161/117858
Mononeuropathies, in general, are rare in childhood. [1] Sciatic neuropathy (SN) accounts for nearly one-fourth of the pediatric mononeuropathies. [1] Direct trauma and iatrogenic mechanism are the most common causes for SN followed by tumor, vascular, and compression injuries. [2] Detailed review of literature reveals only a rare, brief remark that associates idiopathic causes (three cases) with SN. [2]
In children, since SN often presents with clinical features affecting the peroneal branch of the sciatic nerve, electromyography, although difficult due to poor tolerance, plays a crucial role in recognizing the presence of sciatic lesion. [3] Prognosis for recovery is variable and depends entirely on the etiology and the severity of the nerve lesion. [2]
We describe a 7-year-old girl presenting with idiopathic right sciatic neuropathy and transient blood eosinophilia presenting as painful leg who recovered almost completely with conservative management.
A 7-year-old girl with a background of early onset childhood asthma presented with an acute exacerbation of her asthma symptoms. Apart from regular low dose inhaled steroids, she was not on any other medications. Both her past medical and family histories are not significant.
Her respiratory status gradually deteriorated despite being on intravenous salbutamol, aminophylline, and steroids. She needed intubation and mechanical ventilation for just over 24 hours after which she was successfully extubated and was recovering well.
Five days later, she reported a burning pain sensation down the whole of the right leg with some sensory disturbance, which she mainly described as "numbness". A week later, this was followed by weakness of that leg. There was no history of trauma preceding this. Upon clinical assessment, she was noted to have a foot drop with complete inability of ankle dorsiflexion and her right ankle jerk was completely absent.
She was only able to mobilize by hopping on her left leg. There was diffuse decreased sensation to pinprick and light touch but mainly from below the right knee to the toes. The rest of the clinical examination was normal.
Extensive investigations showed a moderate eosinophilia at 1.35 × 10 9 /L (normal range 0.05-1.0) with normal other blood counts and peripheral smear. Her eosinophilia gradually normalized in about 6 weeks. She had a normal full blood count checked prior to this admission. Concomitant with this, the IgE level was also raised at 391 KU/L (normal < 63). Her mycoplasma antibody (genetic prodrug activation therapy-GPAT) level was slightly elevated but this was thought to be of no clinical significance. The throat swab and the Anti-streptolysin O (ASO) titres did no show any evidence of a recent streptococcal infection. Moreover, polymerase chain reaction (PCR) testing for the common respiratory viruses was negative except for rhinovirus. Her auto-antibody screen including Anti-Nuclear Antibody-Hep 2, Centromere antibody, Monoclonal IgA, IgM, and IgG and subclasses, Rheumatoid factor antibody, were normal. Urine and stool culture were negative and the screening for parasites was negative in stool and blood.
MRI demonstrated enlarged and high signal right sciatic nerve on T2-weighted images. This is seen as far down the nerve in the posterior mid thigh as imaged [Figure 1] and [Figure 2].
Figure 1: Axial T2 MRI image of proximal thigh showing enlarged and bright right sciatic nerve
Figure 2: Axial T2 image of the lower thigh showing enlarged and bright right sciatic nerve
Neurophysiology examination [Table 1] was limited as she was in extreme pain. The study showed features of right sciatic mononeuropathy probably axonal in nature. The peroneal part of the sciatic nerve was more involved. Electromyography could not be performed at the request of mother; therefore, exact site of pathology was difficult to localize.
Table 1: Sensory studies showing low amplitude sensory potentials from right sural and superficial nerves. Motor potentials showing reduced amplitude of right peroneal and right tibial motor potentials. Combination of these abnormalities would suggest sciatic nerve pathology.
Initially, the patient did have daily exacerbations of severe neuropathic pain, which was quite disabling. The pain only responded partially to trials with multiple agents including gabapentin, opiates, and carbamazepine. Fortunately, the pain started to improve after a few weeks and this was also associated with marked improvement of her muscle power. She continued to make good progress and was able to independently mobilize within 5-6 months. A year later, the patient had made a complete motor recovery, although she is left with an area of abnormal sensation affecting the lateral border of her right leg and the dorsum of her foot.
There is a possibility that our patient could have a compressive sciatic nerve mononeuropathy.
Compressive neuropathies in childhood are very rare; only 14 of the 898 pediatric patients examined at a neurophysiology centre had compressive neuropathy. [4] It is more common in lower extremities and compression of the sciatic nerve was observed to be the second most common group after peroneal nerve lesion; of the total 14 patients, four had sciatic mononeuropathy localized to sciatic notch. Rest of the patients had compression neuropathy involving peroneal nerve (five), radial nerve (two), ulnar nerve (one), musculocutaneous nerve (one), and long thoracic nerve (one). [4]
Of note, a specific compressive mechanism was identified in each of the above 14 patients. All the four sciatic nerve lesions occurred as a result of a persistent posture. The relatively small musculature of the buttocks doesn't offer adequate protection to the sciatic nerve in children, and as a result, immobilization appears to carry an increased risk for sciatic nerve compressive injury in children.
Our patient didn't have any prolonged period of immobility and during her pediatric intensive care stay her posture was regularly changed to prevent any pressure sores. Also, previously described cases of compressive sciatic neuropathy didn't have a good recovery, which is again in contrast to our case who made almost complete recovery.
Thus, although it is less likely for our case to have compressive neuropathy this cannot be completely ruled out. She doesn't have any tendency (as yet) for repeated nerve palsies necessitating genetic testing to look for 'hereditary neuropathy with liability to pressure palsy (HNPP)', which also remains a possibility and will be looked at if further recurrences do occur.
Peripheral neuropathy and eosinophilia have been well described before in the context of 'Eosinophilia-Myalgia syndrome (EMS) [5],[6],[7]] and 'Hypereosinophilic syndrome' (HES). [8] Both these disorders are quite distinct and have mostly been described in adults.
Our patient didn't have any myalgia or scleroderma-like changes which are characteristic features of EMS along with weakness and eosinophilia.
Similarly, although no apparent cause for eosinophilia was found in our case, it doesn't fulfil the diagnostic criteria for HES as the eosinophilia lasted for less than 6 months, and it never reached more than 1,500/L and also there was no multi-organ involvement. [9]
Although, with the background of asthma and in the presence of eosinophilia with peripheral neuropathy, one should always consider possibility of 'Churg-Strauss syndrome' (CGS), this is very unlikely in our index case considering her young age, mononeuropathy and self-resolution of the disease without any course of steroids. Peripheral neuropathy associated with CGS usually presents in late adolescence and adults and is typically in the form of mononeuritis multiplex rather than mononeuropathy [10],[11] as seen in this case.
Our patient initially presented with severe pain along the sciatic nerve, which was rapidly followed by development of peroneal muscles weakness leading to foot drop within a week of onset. This initial presentation with sensory symptom is a bit unusual. In the recent review of 53 patients with pediatric sciatic neuropathies, only two patients presented with sensory symptoms. Almost all the patients in their series (51) presented with foot drop (peroneal muscle weakness). [2] Numbness seems to be the predominant sensory symptom being present in all the cases. Pain as a sensory symptom was present in only eight out of 29 non-traumatic and non-surgical cases. [2]
Interestingly sciatic neuropathy with eosinophilia has been mentioned briefly once before by Srinivasan et al.[12] They described a teenager who developed SN secondary to post-streptococcal vasculitis and had raised blood eosinophils. The duration or level of eosinophilia is not available. He made a good recovery on treatment with steroids and antibiotics. Our patient showed no evidence of recent streptococcal infection, throat culture and anti-streptococcal antibodies remained negative during the course of her illness.
The Mycoplasma titres in our case did go up slightly from one in 80 to one in 160 in the first 3 months of presentation, but the microbiologist did not feel that these levels are likely to be clinically significant. The titres did fall to undetectable levels when checked again 6 months after presentation. Peripheral neuropathies secondary to Mycoplasma infection have been reported occasionally. [13],[14] Immunologic mechanism is the most likely explanation and indeed anti-ganglioside antibodies in serum was observed in one study. [14]
The onset of all the three idiopathic paediatric SN cases described previously appeared to follow a viral illness. [2] In our index case, the only positive finding during her acute admission was a positive rhinovirus infection, raising again the possibility of post-viral SN as described before. The course of disease of the previously described pediatric cases is not available for comparison. Post viral SN has also been described before following herpes zoster infection. [15]
It does seem that our patient had amassed a very unusual eosinophilic response to her acute illness in Intensive Care Unit (ICU), but there does not seem to be any evidence of an eosinophilic syndrome and the pattern of recovery is suggestive of a single insult, with slow recovery from axonal damage.
Most likely, the sciatic neuropathy in our case appears to be post viral in nature; however, the compressive etiology cannot be ruled out for sure. Hence, the exact mechanism of injury remains unclear and perhaps further accumulation of similar case reports will be necessary to reveal the exact pathomechanisms underlying neuropathies.
1. Jones HR Jr, Gianturco LE, Gross PT, Buchhalter J. Sciatic neuropathies in childhood: A report of ten cases and review of the literature. J Child Neurol 1988;3:193-9.
2. Srinivasan J, Ryan MM, Escolar DM, Darras B, Jones HR. Pediatric sciatic neuropathies: A 30-year prospective study. Neurology 2011;76:976-80.
3. Yuen EC, So YT, Olney RK. The electrophysiologic features ofsciatic neuropathy in 100 patients. Muscle Nerve 1995;18:414-20.
4. Jones HR Jr. Compressive neuropathy in childhood: A report of 14 cases. Muscle Nerve 1986;9:720-3.
5. Heiman-Patterson TD, Bird SJ, Parry GJ, Varga J, Shy ME, Culligan NW, et al. Peripheral neuropathy associated with eosinophilia-myalgia syndrome. Ann Neurol 1990;28:522-8.
6. Burns SM, Lange DJ, Jaffe I, Hays AP. Axonal neuropathy in eosinophilia-myalgia syndrome. Muscle Nerve 1994;17:293-8.
7. Donofrio PD, Stanton C, Miller VS, Oestreich L, Lefkowitz DS, Walker FO, et al. Demyelinating polyneuropathy in eosinophilia-myalgia syndrome. Muscle Nerve 1992;15:796-805.
8. Bell D, Mackay IG, Pentland B. Hypereosinophilic syndrome presenting as peripheral neuropathy. Postgrad Med J 1985;61:429-32.
9. Chusid MJ, Dale DC, West BC, Wolff SM. The hypereosinophilic syndrome: Analysis of fourteen cases with review of the literature. Medicine (Baltimore) 1975;54:1-27.
10. Hattori N, Ichimura M, Nagamatsu M, Li M, Yamamoto K, Kumazawa K, et al. Clinicopathological features of Churg-Strauss syndrome-associated neuropathy. Brain 1999;122 (Pt 3):427-39.
11. Case records of the Massachusetts General Hospital. Weekly clinicopathological exercises. Case 18-1992. Asthma, peripheral neuropathy, and eosinophilia in a 52-year-old man. N Engl J Med 1992;326:1204-12.
12. Srinivasan J, Escolar D, Ryan M, Darras B, Jones HR. Pediatric sciatic neuropathies due to unusual vascular causes. J Child Neurol 2008;23:738-41.
13. Socan M, Ravnik I, Bencina D, Dovc P, Zakotnik B, Jazbec J. Neurological symptoms in patients whose cerebrospinal fluid is culture- and/or polymerase chain reaction-positive for Mycoplasma pneumoniae. Clin Infect Dis 2001;32:E31-5.
14. Yoshino H, Inuzuka T, Miyatake T. IgG antibody against GM1, GD1b and asialo-GM1 in chronic polyneuropathy following Mycoplasma pneumoniae infection. Eur Neurol 1992;32:28-31.
15. Wendling D, Langlois S, Lohse A, Toussirot E, Michel F. Herpes zoster sciatica with paresis preceding the skin lesions: Three case-reports. Joint Bone Spine 2004;71:588-91.
1 Pediatric Sciatic Neuropathy Secondary to Subacute Ischial Osteomyelitis: A Case Report
Céline Cuérel, C. Habre, Christina N. Steiger, Giacomo DeMarco, Anne Tabard-Fougère, Laura Merlini, Cyril Sahyoun, Romain O. Dayer, Dimitri Ceroni
Journal of Pediatric Neurology. 2021;
2 Idiopathic Pediatric Tibial Nerve Palsy
Emma Celano, Christopher M. Fleury, Esperanza Mantilla-Rivas, Jacob S. Nasser, Tiffany Phan, Monica Manrique, Albert K. Oh, Robert F. Keating, Gary F. Rogers
Plastic and Reconstructive Surgery - Global Open. 2021; 9(3): e3484
Prasad M
Babiker M
Rao G
Rittey C
Eosinophilia
hyper-eosinophilic syndrome
mononeuropathies
painful leg
sciatic neuropathy


text:
Driver flees the scene after crashing into a pedestrian in Witham
The car failed to stop and was found in Stevens Road
Ruth OvensSEO Editor
Police are appealing for witnesses to a crash in Witham that left a pedestrian seriously injured.
A black Ford Kuga failed to stop for police in Newland Street at 3.35pm today, Saturday, January 2, and collided with a pedestrian in Mill Lane.
The car failed to stop and was found in Stevens Road. The driver had left the scene and enquiries are ongoing to find them.
A police spokesperson said: "The pedestrian, a man aged in his 40s, suffered serious injuries. They are not believed to be life-threatening or life-changing.
"Witnesses to the collision or anyone in the area at the time who has dash cam or CCTV footage of a black Ford Kuga are asked to contact us quoting incident 634 of 2 January.
"You can contact us online at https://www.essex.police.uk where you can also speak to an operator using the Live Chat button between 7am-11pm or call 101.
"Or contact Crimestoppers on 0800 555 111 or https://crimestoppers-uk.org
"We will be referring the matter to the Independent Office for Police Conduct as the car had failed to stop for police at the time of the collision."


With this album I hope to reveal some of the beauty and magic of the Fujara, a huge overtone flute from Slovakia, up to 1,80 m tall, and surely the most impressive flute of our Western culture.
The first time I played the Fujara during one of my travels, I was at once fascinated by its warm, deep, soothing and archaic sound.
I fell immediately in love with it and set off to Slovakia where I bought one and started playing on it every day.
Although deeply respecting the Fujara tradition of that country, I soon found out that the Fujara can be played in many other interesting and innovative non-traditonal, non- Slovakian ways .Tradition is a valuable and necessary thing, but when too rigid,it suffocates our natural creativity.
The Fujara has a definite meditative and lyrical quality and it has also a lot of rythmical possibilities which I appreciate a lot, being also a percussionist.
Undoubtedly, the Fujara is the most majestic and fascinating flute of Europe, and maybe it wouldn't be wrong to say it is somehow, although totally different in shape and playing technique, a spiritual brother of the world-renowned Shakuhachi.
Traditionally, it is made totally by hand from deciduous trees (elder tree, maple tree). It's a typical folk instrument and its native home is a small region in central Slovakia, called Zvolenska country. The Fujara belongs to the solo-instruments. It consists of two main parts; a whistle pipe and an air pipe and there are only three holes for finger playing. In general, it's also beautifully decorated and it can take up to one month to build a good Fujara.
I am very grateful for having discovered this amazing flute which I cherish deeply, and playing it helped me a lot during my life's journey. I also hope that, although far from being a traditional Fujara player, I can contribute a bit to the discovery and appreciation of maybe one of the most interesting flutes from our Western culture.
In 2005, the Fujara was proclaimed by UNESCO as one of the "Masterpieces of the Oral and Intangible Heritage of Humanity". In 2008, the Fujara and its music was added by UNESCO to the "Representative List of the Intangible Cultural Heritage of Humanity".


3, 4 June 2017 Current Affairs MCQs, Quiz, Questions: Current Affairs for June 2017, Daily Multiple Choice Questions (MCQs) for India GK, World GK and current affairs with Collection of daily objective type Question by www.Indiagk.net based on General Knowledge (GK) and General Science (GS) Questions for UPSC, State PSC, SSC, Police exam, Railway exam, SBI, Bank PO, IBPC, SSC, LDC, UDC, Army, Airforce, Navy, Coast Guard, Bank Clerk, TET and all entrance examination with current affairs News, Multiple Choice Questions (MCQs) available on Website www.IndiaGK.net and Android Apps with daily updates:.
World Bank projects ---- growth rate for India in 2017?
Which committee has been formed by SEBI on corporate governance?
What is the official name of the West Indies cricket team?
Prime Minister Modi on 4th June returns Home from visit of how many countries?
Who has become the new Solicitor General of India?


Do you prefer to stand out from the crowd or blend in?
Which of these would you be willing to do?
Are you a fan of extreme body modification?
Would you be willing to move somewhere crazy at a moments notice?
Would you be willing to go cliff diving?
You happen to be somewhat who's quite sane. You know where the edge of sane ends and you're not willing to step over it. You like things to be orderly and simple and hate doing things that are crazy.
You know how to push the envelope when it comes to doing something insane. You know where your boundaries are and you're not afraid to try something new and scary.
You don't like to live life normally but instead push everyone's expectations with things you do. You like trying new and daring things. You love to stir up a bit of controversy now and then.
You don't like following the rules when it comes to doing something. You love to stand out and show how truly different you are. You love to be though of as different and try your best to be labeled as such.


text:
Q: Using com2tcp-rfc2217.bat on Windows and uploading to COM5 via WSL2 (ESP8266) and platform.io not working Setup on Windows
ESP8266 connected to COM5 port
.\com2tcp-rfc2217.bat COM5 4444
D:\Downloads\hub4com-2.1.0.0-386>"hub4com"  --create-filter=escparse,com,parse --create-filter=purge,com,purge  --create-filter=pinmap,com,pinmap:"--rts=cts --dtr=dsr --break=break" --create-filter=linectl,com,lc:"--br=remote --lc=remote" --add-filters=0:com --create-filter=telnet,tcp,telnet:" --comport=server --suppress-echo=yes"  --create-filter=lsrmap,tcp,lsrmap --create-filter=pinmap,tcp,pinmap:"--cts=cts --dsr=dsr --dcd=dcd --ring=ring" --create-filter=linectl,tcp,lc:"--br=local --lc=local" --add-filters=1:tcp --baud=115200 --octs=off "COM5" --use-driver=tcp "*4444"
COM5 Open("COM5", baud=115200, data=8, parity=no, stop=1, octs=off, odsr=off, ox=off, ix=off, idsr=off, ito=0) - OK
Route data TCP(1) --> COM5(0)
Route data COM5(0) --> TCP(1)
Route flow control TCP(1) --> COM5(0)
Route flow control COM5(0) --> TCP(1)
Filters:
_______
       \->{telnet.IN}-------------------------------------------->
TCP(1) |     /
_______/<-----{telnet.OUT}<-{lsrmap.OUT}<-{pinmap.OUT}<-{lc.OUT}<-

________
        \->{parse.IN}------------------------------>
COM5(0) |     /
________/<-----{purge.OUT}<-{pinmap.OUT}<-{lc.OUT}<-

Started COM5(0)
Socket(0.0.0.0:4444) = 204
Listen(204) - OK
Started TCP(1)

Setup on WSL2
VSCode Remote for WSL installed and running fine
platform.io extension in VSCode installed and running
platformio.ini
[env:nodemcuv2]
platform = espressif8266
board = nodemcuv2
framework = arduino
platform_packages =
    framework-arduinoespressif8266 @ https://github.com/esp8266/Arduino.git

lib_deps = ESP Async WebServer
build_unflags = -std=gnu++17 -std=c17
build_flags = -std=gnu99 -std=c++11

monitor_port=socket://192.168.1.100:4444
monitor_speed=115200
upload_speed=115200
upload_port=socket://192.168.1.100:4444

Problem
I cannot upload anything to the ESP8266
Connecting........_____
When using upload_port=rfc2217://192.168.1.100:4444 the error is:
A fatal error occurred: Failed to connect to ESP8266: Timed out waiting for packet header
When using upload_port=socket://192.168.1.100:4444the error is:
A fatal error occurred: Failed to connect to ESP8266: Invalid head of packet (0x6F)
What works
I can open up the serial monitor and view the serial output of the ESP8266 just fine. So the ports and the baud-rates seem fine to me.
What am I missing here?

A: I managed to solve it.
For some reason, the ESP8266 is not automatically switching to flash-mode while uploading via rfc2217. I had to put it in flash-mode manually by holding flash-button and pressing reset button while the Connecting...___ shows up.