text:
Martin Parr's Advice to Documentary Photographers
As the Martin Parr Foundation plans for a busy 2018, the Magnum photographer gives his best career advice to photographers
Martin Parr GB. England. 'I don't think it's anything particularly forced on Deborah. We've just always enjoyed the same sort of things.' From 'Signs of the Times'. 1991. © Martin Parr | Magnum Photos
It's been a busy few months for Martin Parr. The photographer, curator, bookmaker, and collector, is now also running his very own photography foundation in Bristol. When its doors opened, on a fall evening last year, its stated aim was to support documentary photographers focusing their work on the British Isles.
"I'm constantly looking out for what I think is very good work… It's a combination of discoveries and giving attention to people who have been somewhat overlooked, misunderstood, and underappreciated in the past," says the Magnum photographer, known for his collecting habit. In fact, his personal photobook collection has been acquired by the Tate.
The Art of Street Photography
Martin Parr GB. England. Weymouth. From 'Common Sense'. 1998. © Martin Parr | Magnum Photos
Consequently, the Martin Parr Foundation exhibits bodies of work that are of exceptional quality, such as the upcoming Niall McDiarmid show, and accompanying book, Town to Town, opening in January. Parr explains he will also acquire, via the Foundation, key works from the exhibition: "part of the process will be that we purchase some prints for the Foundation. So his fee will come in the shape of a purchase."
Supporting documentarians by acquiring, holding, and exhibiting their work several times a year is only a part of the Foundation's aims. It also holds a collection of photobooks focused on Britain and Ireland, which will eventually be open for consultation as part of a "research facility" for its members, and hosts photographic events and workshops.
"We're getting very good throughput of people," says Parr. "Though it's not numerically massive, the people that come are really enjoying it. And that's been very heartening… I often go out, if I'm here, to say hello and meet people…"
All this activity has meant that his own photography has taken a bit of a back seat: "one of the things I haven't done in the past few months is take many photographs." Luckily, he will be back behind the camera in the early parts of 2018, working on new projects. In the meantime, we spoke to him about what he looks for in a project, and asked him for his best advice to documentary photographers.
Bieke Depoorter OU MENYA © Bieke Depoorter | Magnum Photos
Tell a personal story to engage your audience
"The most important thing is to tell a personal story. The most important aspect of any photographer's work is their connection to the subject. If that connection is a wholesome, positive, exciting one, then work is going to inevitably speak to an audience. So that's what documentary offers: an incredible opportunity to engage with an audience, to engage with the subject, and for that sense of commitment and excitement to shine through."
Find a connection
"It's the quality of the connection you make with the subject which is absolutely key. And there should always be some kind of story behind that, some kind of tension or vulnerability. That's when good work emerges. And, you've got to be excited by that. If you're excited, then you're going to be motivated to work and it will all pan out. That excitement will have the potential to be transmitted to the viewer.
Someone like Bieke Depoorter is a very good example. She has a very clear idea of what she is doing. When I think about her work, and the fact she ends up gate crashing strangers' lives, I take my hat off to her. Wow. To be motivated to do that, and to return with the work she does, is a remarkable achievement. You just look at that and you can smell the difficulty, the pain, and the pleasure, the satisfaction you get when that works out.
Another example is Jonas Bendiksen's new book, Last Testament. He found seven people, each of whom is convinced (and has convinced their followers) that they are the Second Coming of Jesus Christ, and followed them over several years. How can you not be moved by the effort that the work took? The length, the thoroughness, the dedication, the absolute dogged determination that he approached his subject with… That involvement has been rewarded with the pictures that he's got."
Know why you're making the work
"Most of the work we look at is confused, because the photographers themselves don't know what it's about. And that's one of the things that can be taught to a certain extent, and encouraged, and facilitated with people, in order for them to be clear about what they are saying. The big mistake people make is trying to say too much. They want to change the whole world with one project. They don't realise that dealing with one small thing well, and very meaningfully, is much more effective than trying to cover too many aspects of the world at once. If you can't explain what you're doing in one sentence, it's hardly worth doing."
5 Instagram Lessons from Magnum Photographers
"If you can't explain what you're doing in one sentence, it's hardly worth doing."
- Martin Parr
Focus on the story and the career will come
"Most people are thinking purely about how they can get on in the world of photography. If that's your main consideration, you're going to fail. If your main consideration is making that connection and getting the work done, then inevitably, someone is going to come across it. You have to get out there and do the usual channels of photo reviews, showing your work around. Someone will get it and it will start to happen."
Telling Stories: the Single Image vs. the Series
Hold on to your original enthusiasm
Often the follow up to a really successful first project is quite daunting to mid career photographers who find themselves under a lot of pressure to produce more and to work better. "The difficult second project is a classic problem. But you just have to work your way through it. Then you get some kind of rhythm of how you work, and you don't sot of regard that too much as an issue. So that original enthusiasm is indeed, there, it will sustain itself.
Jonas Bendiksen GB. Runnymede. 2015. Dolores (David Shaylers transvestite femme persona) speaking to the flock. Paul the apostle writes "nor is there male and female, for you are all one in Christ Jesus". Today's (...)
Messiah has an alter ego named Dolores Kane, who embodies the feminine aspects of divinity. Like Jesus of Nazareth, David and Dolores move in circles far outside of society's establishment. David Shayler the Christ was born December 24th, 1965 in Middlesbrough, an industrial town in North East England. A former MI5 agent, he blew the whistle on the secret services in 1996 to uncover corruption and incompetence. He has been fighting the Goliaths of the Earthly Judiciary and Establishment ever since. His revelation that he was Jesus Christ came in 2007. Since then he has been on a mission to teach humanity Christ consciousness, unconditional love and the supremacy of God's law over Man's legislation. © Jonas Bendiksen | Magnum Photos
Jonas Bendiksen RUSSIA. Krasnoyarsk Territory. 2015. Disciples of Vissarion at a communal lunch during a Christmas pilgrimage. Christmas for them is January 14th, Vissarion's birthday. In 1988 the man born as Serg (...)
ei Torop lost his job as a traffic policeman in the Siberian town of Minusinsk. Shortly afterwards, just as the Soviet Union unraveled around him, he had his first revelations that he was Jesus Christ. He founded the Church of the Last Testament in the early 1990s. People flocked to him from all corners of the Russian empire and founded an off-the-grid utopian eco-village in the Siberian wilderness, the Abode of Dawn. The community now numbers around five thousand dedicated followers. They have built their own schools, churches, formed a priesthood and their own social structure. Vissarion's right-hand disciple, Vadim, is always close by and records all Vissarion's deeds and proclamations. The resulting chronicles are continuously published in thick Russian-language tomes titled Pozledniy Zavet, or The Last Testament. They are currently on volume sixteen. © Jonas Bendiksen | Magnum Photos
Jonas Bendiksen INRI Cristo's disciples rolling him around on the compound grounds on his rolling pedestal. INRI (born Alvaro Theiss) takes his first name from the initials of the inscription the Romans placed on (...)
the cross to spite him 2,000 years ago: Iesus Nazarenus Rex Iudaeorum, or Jesus of Nazareth, King of the Jews. The first awakening as the Christ came already in 1979 during a fast in Santiago of Chile, and INRI subsequently spent many years as a wandering preacher before settling in New Jerusalem, which is located outside of Brasilia. Most of the dozen or so disciples who live inside INRI's compound are women. While the 69-year old Saviour and his followers live a private and secluded life, they are also busy disseminating his teachings to the world via the Internet, using YouTube, music videos and live broadcasts of sermons. From the book "The Last Testament". Brasilia. Brazil. 2014. © Jonas Bendiksen | Magnum Photos
British , Documentary , England , Martin Parr , Martin Parr Foundation
- Written by Anne Bourgeois-Vignon · Jan 03, 2018
Work Ethic: The Principles that have Shaped a Photographic Practice
Theme | 18 Stories
Expert Photographic Advice from Magnum
Martin Parr's Season
Revisiting Martin Parr's Last Resort
Martin Parr: Only Human
Superstructure: The Millennium Dome
Martin Parr in Wales
Signed Magnum Collection Poster: The Netherlands. 1997.
SIGNED POSTER
Omaha Beach during the D-Day landings. France. Normandy. June 6th, 1944.


For many, Zim remains the final frontier for Self-Drive. With Botswana and Namibia approaching capacity, Zimbabwe presents a diverse and wild alternative for the more adventurous. There are some specific challenges that remain. My view is that most self-drivers over-estimate the severity of these challenges and are put off far too easily.
FALLACY 1: Lets start with safety & security, a question I am often asked regards self-driving in Zim. In short, Zim does not have a problem with violent crime like some of our more-visited neighbours. Sure, there is petty theft (don't leave cash or cellphones lying around) but hijackings and gun violence are rare. Despite (or maybe, because of) the economic challenges, the fabric of Zim society remains intact and most people have respect for each other and common human decency.
The cops were a problem 18 months ago when they were trying to raise fine revenue by enforcing ridiculous regulations. Under the new dispensation, they are back to directing traffic and giving public transport drivers a hard time about their un-roadworthy vehicles and reckless driving. Fact is, the average cop's heart was never really in it when they were ordered to extort motorists in the past, the average Zimbo is much more happy solving problems than causing them.
Hard fact – Zimbabwe's homicide rate is one sixth of South Africa's and one third of Botswana & Namibia's.
FALLACY 2: Lets get this straight, FUEL DOES NOT COST US$3.32 PER LITRE! This is just inaccurate journalism. Either the writers do not understand mathematics, or they are just looking for sensationalist headlines. This fallacy was created by the original official insistence that government-issued local currency was 1:1 with the USD when in fact it trades at 4-4,5/USD on the black (real) market.
The resultant official Z$3.32/l fuel price cannot be said to be equal to USD 3.32/l and is actually around USD 0.73/l, making it the cheapest in the region by some way. This naturally results in excess demand and some rather impressive fuel queues! Unless you are an under-employed amateur fuel arbitrage trader, don't waste your time in a 2km fuel queue trying to buy a tank of the cheapest fuel in Africa. For people who have hard forex, fuel hovers between $1.20 and $1.40 per litre and you can buy coupons meaning you don't have to stand in a long queue. If you are still not convinced, don't worry, we can help you get coupons and fuel from Harare and Kariba and for goodness sake, don't cancel your trip because of some financially illiterate journalist's opinions.
FALLACY 3: Food is horrendously priced and the supermarket shelves are bare. Same cause as fallacy 2….imported food is approx 30% more expensive than neighboring South Africa but Supermarkets are still full of stuff you don't need (my local Spar has about 10 types of cooking oil) and local brands remain affordable and more than good enough.
THE ONE HOME TRUTH : The standard of driving in Zim really is poor! The proliferation of cheap imported 2nd hand vehicles and aforementioned cheap fuel means many people are first-time motorists who have never sat in the back of their parents car as children hearing critical analysis other motorists' driving technique. These new drivers do not yet understand their own mortality. Speed, poor maintenance and no insurance are a potent combination. You need to be aware of this, maintain following distance and assume all other road users are Kamikaze pilots. Try think ahead for everyone else and take it easy on the speed.
Hopefully, this explanation of these 3 Fallacies and one home truth will help you better understand the true risks in Self-Driving unexplored beautiful Zimbabwe and make a quality decision.
Please do contact us if you need assistance planning your trip or with 4×4 Rentals and Campsite & Kariba Ferry Bookings.


Bentham Paulos is principal of PaulosAnalysis, providing consulting and journalism on clean-energy policy, technology and trends. He is the author of "Empowered: A Tale of Three Cities Taking Charge of their Energy Future."
Paulos was with the Energy Foundation from 2000 to 2013. Previously, he was a freelance consultant and writer in Madison, Wis., focusing on Midwest clean-energy developments for national and international clients. He also worked with the Energy Center of Wisconsin, the Union of Concerned Scientists and Abt Associates. He has a master's degree in energy policy from the La Follette Institute of Public Affairs at the University of Wisconsin-Madison.


text: Q: How can I monitor GPU memory allocated by Tensorflow Serving When I use nvidia-smi command I can see in the processes section how much memory is allocated by Tensorflow Serving. Is there a way to check how much is actually used by loaded models? How can I know if there is still some free memory to load the next model?

redpajama_set_name: RedPajamaStackExchange


A few weeks back a fellow classmate of mine asked me for some tips for the Nikon D300 which we both have. I agreed I would post a few that I knew of for her. Unfortunately I have been busy and to be honest I could not remember any D300 specific tips that is till now.
My D300 was preloaded with 4 Picture Control settings from the factory. Now for those of you who don't know what the picture control settings are, take a look under the "Shooting Menu" in your camera. There you will find "Set Picture Control" which allows you to choose a preset that allows you to apply a post processing setting to your image after it is shot. My D300 had Standard,Neutral,Vivid and Monochrome installed. Different Nikon cameras may have more.
When I started using Lightroom and I downloaded the camera profile presets, I noticed there were way more than my camera had so I did some searching on the net only to find out there yes there were some more I could download.


text:
UK banks RBS, Lloyds offer help to coronavirus-hit customers
Two of Britain's biggest banks, RBS (RBS.L) and Lloyds (LLOY.L), are offering support to customers affected by the coronavirus outbreak as it spreads in the country.
State-backed RBS said on Tuesday that affected borrowers would be able to defer mortgage and loan repayments by up to three months, as part of its policy of supporting customers who suffer financial hardship from unexpected events.
It will also waive early closure charges on fixed savings accounts and offer refunds on credit card cash advance fees so customers can access cash without penalty.
Its announcement comes a day after NatWest, part of RBS, announced measures to help small firms suffering cash flow or supply chain problems due to the health crisis.
Britain's biggest domestic bank, Lloyds, also announced support for business customers on Tuesday, offering relief on fees and loan repayments to some small firms hit by the virus.
Lloyds said it would offer 2 billion pounds of finance with no fees to affected small firms that have a turnover of up to 25 million pounds. The funding is part of its expected 18 billion pounds of business lending this year.
Neither RBS nor Lloyds defined exactly how customers would have to be affected by the virus to receive help. There have been 321 cases and five deaths in Britain so far.
Lloyds itself has been disrupted, shutting a call centre in Northern Ireland that employs 1,000 people after a member of staff tested positive for the virus.
Some businesses have had to shut offices and ask employees to work from home, while cross-border supply chains have also been disrupted.
RBS's move to extend support to personal customers comes as Italy's deputy economy minister said payments on mortgages could be suspended across the country, where the most serious outbreak in Europe continues to unfold.
Lloyds said its managers had spoken to more than 10,000 small and medium-sized enterprises about the outbreak, but said the damage on businesses so far had been minimal.
It said any loan repayment holidays would be offered subject to individual agreements.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tag: teddy bear and teddy Roosevelt
Teddy Bear Picnic Day – July 10th
Teddy Bears Picnic Day – July 10
During the early 1900s, President Theodore Roosevelt was in office as President of the United States. While hunting in Mississippi in 1902, he refused to shoot a small bear. The Washington Post picked up on this story and made a cartoon of the event. Toy store owners, Morris and Rose Michtom, wrote to President Roosevelt for permission to call their stuffed animals "Teddy Bears". Teddy bears became wildly popular. "The original teddy bear, from 1903, was given to the Smithsonian by Teddy Roosevelt's grandson, Kermit. Today that bear is in the collections of our National Museum of American History."
Clifford Berryman: April 2, 1869 — December 11, 1949 Cartoonist for the Washington Post
A song about a Teddy Bears Picnic reached peak popularity in 1988 when collectibles dealer Royal Selangor launched Teddy Bears' Picnic Day. Many people bought the collectibles and starting giving them as birthday gifts. Soon, children's birthday parties started to have "Teddy Bears' Picnic" themes. Eventually, this particular theme became so popular among parents, preschools and kindergarten classes, that parents and institutions rallied to have the event named a holiday.
July 10 was officially named National Teddy Bears' Picnic Day in 1988. Why not celebrate July 10th with your family and have a beary good time! You will find some teddy bear picnic ideas in this article to get you started.
Have a Teddy Bear Picnic
Take your teddy bear (or teddy bears) out for a day in the sun. It's time for a Teddy Bear Picnic! Make a few PB& J sandwiches, some cookies, and a jug of Kool-Aid. Take a blanket out under a shade tree, and enjoy lunch with your Teddy.
If you have construction paper handy, you and your children can create teddy bear ear headbands to wear while having your picnic
Sing the Song
Before going on your picnic listen to the song "The Teddy Bears Picnic" and then sing it.
Lyrics of Teddy Bear Picnic:
If you go down in the woods today,
You're sure of a big surprise.
You'd better go in disguise.
For every bear that ever there was
Will gather there for certain because
Today's the day the Teddy Bears have their picnic.
Every Teddy Bear who's been good
Is sure of a treat today.
There's lots of marvelous things to eat
And wonderful games to play.
Beneath the trees where nobody sees
They'll hide and seek as long as they please
'Cause that's the way the Teddy Bears have their picnic.
You'd better not go alone.
It's lovely down in the woods today,
But safer to stay at home.
Picnic time for Teddy Bears…
The little Teddy Bears are having a lovely time today.
Watch them, catch them unawares,
And see them picnic on their holiday.
See them gaily gad about.
They love to play and shout.
They never have any care.
At six o'clock their Mummies and Daddies
Will take them home to bed,
Because they're tired little Teddy Bears.
In 1907, John Walter Bratton wrote the song "The Teddy Bears' Picnic," the only purely instrumental song in his repertoire. With its bouncy march music, the song became Bratton's only hit. In 1932, songwriter James Kennedy wrote the memorable lyrics to the song, making it an instant children's classic. Many singers—Bing Crosby, Rosemary Clooney, Jerry Garcia and Anne Murray—have recorded the song, making it a hit that has outlasted many decades.
Teddy Bear Picnic Activities and Games:
• Hold a competition for the best-dressed bear.
• Hold a competition for the smallest and tallest bears.
• Hold a competition for best-named bear.
• Play hide and seek with the bears. The rules are up to you!
• Have the kids play act being a bear.
• Play look out for the bear – Choose one player to be the "bear". This player hides in some part of the room or garden, while the rest, with their backs turned, are standing at their goal.
Count and seek. As soon as the players have counted 50 or 100, they all scatter and hunt for the "bear." The player who finds him first calls out, "Look out for the bear," and all the players run to their goal.
If the bear catches any players while running for the goal, they become "bears." These "bears" hide together and the game continues until all the players are "bears."
Act Out the Poem
You can play act this teddy bear poem.
Teddy Bear, Teddy Bear, turn around,
Teddy Bear, Teddy Bear, touch the ground,
Teddy Bear, Teddy Bear, reach up high
Teddy Bear, Teddy Bear, wink one eye,
Teddy Bear, Teddy Bear, slap your knees,
Teddy Bear, Teddy Bear, sit down please.
Make a Teddy Bear Snack
Teddy Bear Snack for your picnic: Teddy Bear Snack Mix
2 cups ramen noodles, crushed
5 cups Golden Grahams cereal
3 cups bear shaped graham crackers
1 cup peanuts or 1 cup sliced almonds
1 teaspoon orange juice
Discard seasoning package from ramen noodles.
In a large bowl, mix together noodles, cereal, teddy bear cookies, nuts and raisins.
In a 4 cup glass measure, combine cinnamon, honey, butter and orange juice.
Heat in microwave until melted and well mixed.
Pour this mixture over the cereal mixture.
Toss to coat well.
Spread into a large rimmed baking sheet and bake for 10 minutes, stirring once.
Package in individual baggies, about 1/2 cup per baggie and then place in a larger freezer bag and freeze.
Teddy Bear Books to read:
The Legend of the Teddy Bear by Frank Murphy
Teddy Bears' Picnic by Jimmy Kennedy
The Teddy Bear's Picnic by Michael Hague
Corduroy by Don Freeman
Hot Foot Teddy: The True Story of Smokey Bear by Sue Houser


text:
Bentley Continental GT V8 2019 review
From £159,1009
Crewe takes the less-is-more approach with V8-powered Conti and scores the most convincing and enjoyable result in the recent history of the mainstream Bentley
Super-GT packs Bentley-grade lavishness in a sportier than ever, all-new package
by Andrew Frankel
Predictably enough, it's Bentley's now not-so-new Continental GT featuring a 4.0-litre twin-turbo V8. Just like the previous-generation Conti, this car now makes up one half of the Continental GT range, sitting alongside its 6.0-litre W12 flagship brother.
The engine is the same in all but installation details as that in the Bentayga V8, but with 542bhp, it's usefully more powerful than even the 521bhp 'S' version of the old Continental GT, not to mention that it's fitted into a car an even more useful 130kg lighter. Which means it will hit 62mph in four seconds flat.
It costs £148,800, which is a touch over 11 grand less than the 626bhp W12 car. It is also 50kg lighter than the W12, all removed from the nose, which means their power-to-weight ratios are separated by little more than 30bhp per tonne. The suspension of the V8 has been tweaked, but only tuned to match the change in weight and distribution.
You will probably know already that we hold the W12 Continental GT in high regard. But you can take it from me that in all ways that matter, the V8 is not just the cheaper car, but the better one too. We made much the same observations when comparing V8 and W12 from the last generation.
The first thing to note is that the V8 feels better balanced than the W12, and I mean that both literally and figuratively. With the W12 there is on occasion a sense that the chassis is being given all the work it might ever choose to do doling out the torque of the 6.0-litre motor. I'd not say it's over-powered, but the engine has the starring role, the chassis the walk-on part. The V8 redresses this balance. I drove it along the most sinuous road I've ever encountered in North America – a road better suited to an Ariel Atom if I'm honest – and the V8 never threatened to overwhelm the chassis.
Better still, the car is keener to sniff out an apex, more sensitive to throttle position and I would say is more communicative through the steering still. No it doesn't attack such a road with quite the same relish as, say, an Aston Martin DB11 V8 might, but there is no doubt in my mind that this is the best-handling, most enjoyable Bentley of the modern era.
The engine itself is fabulously brawny, with a far more seductive and characterful voice than that of its big brother. It is awash with low-down torque but what's so clever is the programming of the double-clutch gearbox, which really resists the urge to kick down when you want to summon more power. Instead it lets the engine do the work, letting you hear its thunder without the need for a downshift followed almost immediately by an upshift back into the gear you just left. And with an engine that is hauling hard and thundering fabulously at just 2000rpm, that is precisely as it should be in a Bentley.
And that should be applauded, because all the other Continental GT attributes remain undimmed. It rides fabulously well, is fitted with perhaps the best seats of any car on sale, the interior feels properly handcrafted and the whole car seems as strong as a mountain.
If you're looking for an entirely traditional grand tourer, a car offering superlative comfort over enormous distances, followed by more than enough dynamism on the right road for you to thoroughly enjoy the roads at destination, then the answer is an unequivocal 'yes'. Few, if any, are better.
While other Bentleys have been both quicker and quirkier, for all-round ability and to deliver on what I believe is the core promise of a mainstream Bentley, this is the most complete I've encountered in over three decades of testing them.
I'm sure there are plenty who want the ultimate and won't settle for fewer than 12 cylinders under their bonnets, and I get that entirely, but they will be spending more money on a car that's a little quicker, but less characterful, less fun to drive and more expensive both to buy and to run. But that's not to say the V8 is beyond improvement. Hopefully an 'S' version will come along too: with a little more power, a slightly sharpened chassis a touch less weight, the best yet could become better still.
Bentley Continental GT V8 specification
Where Napa Valley, US Price £148,800 On sale September Engine 8 cyls, 3996cc, turbocharged, petrol Power 542bhp at 5750rpm Torque 568lb ft at 1950rpm Gearbox 8-spd dual-clutch automatic Kerb weight 2194kg Top speed 198mph 0-62mph 4.0sec Fuel economy WLTP figures tbc CO2 WLTP figures tbc Rivals Aston Martin DB11 V8, Mercedes-AMG GT 63S
One wonders...
...how much more power the W12 can usefully deliver, given that the 'VAG V8' can easily make 600+ bhp. Naturally Bentley don't want the 'little brother' to step on the grandee's big toes, but why not boost the 6.0's output, unless it can't be done reliably...
LJames
I often feel the same about
I often feel the same about the way car manufactuers crush the potential of their models in order to keep the gap clear between it and a higher model or spec.
I fully understand the logic and agree with it, but sometimes it is annoying when you know a specific model has so much more potential.
Take the Range Rover for example. It has long been in danger of being undercut by the sport. It has better off-road capability by design, but the Sport could be made to have an equal level of luxury, while maintaining its superior performance and dynamics
I don't want them to do it, but I still think it is an interesting study.
I suspect the limiting factor
I suspect the limiting factor in the W12 is probably the conrods as they're the same spindley dimensions as those in every other VR derived engine. Bugatti get around it by using titanium but I doubt that would be cost effective for the Bentley.
Ski Kid
Has it put on weight or been on a diet
The opening description mentions 130 kg lighter then further in the review reduces this to 50kg variance between the two modelsv8 and w12 please get it right.
It's 130kg lighter than the old model and 50kg lighter then the 12 cylinder model. I hope that helps Ski Kid
alleggerita
Please re-read
Ski Kid wrote:
they meant the Continental GT is 130kg lighter than the Bentayga and the CGT V8 is 50kg lighter than the CGT W12.
si73
As magnificent as this car
As magnificent as this car undoubtedly is I don't like the front, whether it's the grills size or shape against the lights I'm not sure but it doesn't look right to me.
jason_recliner
si73 wrote:
Yep. It looks like it was drawn by a teenager. On a 286. Using MS Paint.
It's a right munter.
Takeitslowly
jason_recliner wrote:
Yep. It looks like it was drawn by a teenager. On a 286. Using MS Paint. It's a right munter.
Norom.
Takeitslowly wrote:
I'm a moron for having an opinion on the styling of a car? You really are a useless wad.


text:
Part of Reentry Council of the City and County of San Francisco
From 2005 until 2008, two ad hoc reentry councils focused on different aspects of the reentry of people from prisons and jails: the Safe Communities Reentry Council (SCRC), co-chaired by Supervisor Ross Mirkarimi and Public Defender Jeff Adachi; and the San Francisco Reentry Council (SFRC), co-chaired by District Attorney Kamala D. Harris and Sheriff Michael Hennessey.
In September 2008, these efforts were unified with the formal creation of the Reentry Council of the City and County of San Francisco. The new Reentry Council was established by Ordinance 215-08, which was signed into law in September 2008, and amended in February 2009 by Ordinance 26-09 and in February 2011 by Ordinance 44-11. The first meeting of the Reentry Council was held on July 17, 2009.
Our Subcommittees
Attend Reentry Council Meetings
The Reentry Council encourages all those who are interested in supporting individuals who are returning from incarceration to get involved. Reentry means something different for everyone, and there are many ways you can be a part of and support this journey. The Reentry Council is committed to providing a platform for community building. We welcome all to attend Reentry Council meetings and participate in its subcommittees. All meetings are open to the public.
Provide Public Comment
At each Reentry Council meeting, time is built into the meeting's agenda for public comment. This is a space for you to tell the Council how San Francisco can better support reentry. If you are not able to attend a meeting in person but would like to give written public comment, please contact Victoria Westbrook (reentry.council@sfgov.org). Your voice matters - use it!
Become a Subcommittee Member
The Reentry Council's subcommittee meetings offer the opportunity to learn more about the reentry process, dig into issue areas, and develop initiatives. Ideas and recommendations generated in the subcommittees are brought before the full Reentry Council for consideration. Everyone is welcome to attend and participate in subcommittee meetings, with annual membership review. Contact Victoria Westbrook (reentry.council@sfgov.org) for more information.
Agencies and Departments Represented
Juvenile Probation Department
Department of Homelessness and Supportive Housing
Office of Economic and Workforce Development
Superior Court of California - County of San Francisco
Department of Children, Youth & Their Families
Department of Child Support Services
Administrative Code & Ordinances
Ordinance 215-08 amended the San Francisco Administrative Code by adding Sections 5.1-1 through 5.1-6 to establish the Reentry Council of the City and County of San Francisco


text:
// Copyright (c) Microsoft. All rights reserved.
// Licensed under the MIT license. See LICENSE file in the project root for full license information.

using System;
using System.Linq;
using System.Linq.Expressions;
using System.Reflection;
using Xunit;

namespace Tests.ExpressionCompiler.Unary
{
    public static class OnesComplementNullableTests
    {
        #region Test methods

        [Fact] //[WorkItem(3737, "https://github.com/dotnet/corefx/issues/3737")]
        public static void CheckUnaryArithmeticOnesComplementNullableShortTest()
        {
            short?[] values = new short?[] { null, 0, 1, -1, short.MinValue, short.MaxValue };
            for (int i = 0; i < values.Length; i++)
            {
                VerifyArithmeticOnesComplementNullableShort(values[i]);
            }
        }

        [Fact] //[WorkItem(3737, "https://github.com/dotnet/corefx/issues/3737")]
        public static void CheckUnaryArithmeticOnesComplementNullableUShortTest()
        {
            ushort?[] values = new ushort?[] { null, 0, 1, ushort.MaxValue };
            for (int i = 0; i < values.Length; i++)
            {
                VerifyArithmeticOnesComplementNullableUShort(values[i]);
            }
        }

        [Fact] //[WorkItem(3737, "https://github.com/dotnet/corefx/issues/3737")]
        public static void CheckUnaryArithmeticOnesComplementNullableIntTest()
        {
            int?[] values = new int?[] { null, 0, 1, -1, int.MinValue, int.MaxValue };
            for (int i = 0; i < values.Length; i++)
            {
                VerifyArithmeticOnesComplementNullableInt(values[i]);
            }
        }

        [Fact] //[WorkItem(3737, "https://github.com/dotnet/corefx/issues/3737")]
        public static void CheckUnaryArithmeticOnesComplementNullableUIntTest()
        {
            uint?[] values = new uint?[] { null, 0, 1, uint.MaxValue };
            for (int i = 0; i < values.Length; i++)
            {
                VerifyArithmeticOnesComplementNullableUInt(values[i]);
            }
        }

        [Fact] //[WorkItem(3737, "https://github.com/dotnet/corefx/issues/3737")]
        public static void CheckUnaryArithmeticOnesComplementNullableLongTest()
        {
            long?[] values = new long?[] { null, 0, 1, -1, long.MinValue, long.MaxValue };
            for (int i = 0; i < values.Length; i++)
            {
                VerifyArithmeticOnesComplementNullableLong(values[i]);
            }
        }

        [Fact] //[WorkItem(3737, "https://github.com/dotnet/corefx/issues/3737")]
        public static void CheckUnaryArithmeticOnesComplementNullableULongTest()
        {
            ulong?[] values = new ulong?[] { null, 0, 1, ulong.MaxValue };
            for (int i = 0; i < values.Length; i++)
            {
                VerifyArithmeticOnesComplementNullableULong(values[i]);
            }
        }

        [Fact] //[WorkItem(3737, "https://github.com/dotnet/corefx/issues/3737")]
        public static void CheckUnaryArithmeticOnesComplementNullableByteTest()
        {
            byte?[] values = new byte?[] { null, 0, 1, byte.MaxValue };
            for (int i = 0; i < values.Length; i++)
            {
                VerifyArithmeticOnesComplementNullableByte(values[i]);
            }
        }

        [Fact] //[WorkItem(3737, "https://github.com/dotnet/corefx/issues/3737")]
        public static void CheckUnaryArithmeticOnesComplementNullableSByteTest()
        {
            sbyte?[] values = new sbyte?[] { null, 0, 1, -1, sbyte.MinValue, sbyte.MaxValue };
            for (int i = 0; i < values.Length; i++)
            {
                VerifyArithmeticOnesComplementNullableSByte(values[i]);
            }
        }

        #endregion

        #region Test verifiers

        private static void VerifyArithmeticOnesComplementNullableShort(short? value)
        {
            Expression<Func<short?>> e =
                Expression.Lambda<Func<short?>>(
                    Expression.OnesComplement(Expression.Constant(value, typeof(short?))),
                    Enumerable.Empty<ParameterExpression>());
            Func<short?> f = e.Compile();
            Assert.Equal((short?)(~value), f());
        }

        private static void VerifyArithmeticOnesComplementNullableUShort(ushort? value)
        {
            Expression<Func<ushort?>> e =
                Expression.Lambda<Func<ushort?>>(
                    Expression.OnesComplement(Expression.Constant(value, typeof(ushort?))),
                    Enumerable.Empty<ParameterExpression>());
            Func<ushort?> f = e.Compile();
            Assert.Equal((ushort?)(~value), f());
        }

        private static void VerifyArithmeticOnesComplementNullableInt(int? value)
        {
            Expression<Func<int?>> e =
                Expression.Lambda<Func<int?>>(
                    Expression.OnesComplement(Expression.Constant(value, typeof(int?))),
                    Enumerable.Empty<ParameterExpression>());
            Func<int?> f = e.Compile();
            Assert.Equal((int?)(~value), f());
        }

        private static void VerifyArithmeticOnesComplementNullableUInt(uint? value)
        {
            Expression<Func<uint?>> e =
                Expression.Lambda<Func<uint?>>(
                    Expression.OnesComplement(Expression.Constant(value, typeof(uint?))),
                    Enumerable.Empty<ParameterExpression>());
            Func<uint?> f = e.Compile();
            Assert.Equal((uint?)(~value), f());
        }

        private static void VerifyArithmeticOnesComplementNullableLong(long? value)
        {
            Expression<Func<long?>> e =
                Expression.Lambda<Func<long?>>(
                    Expression.OnesComplement(Expression.Constant(value, typeof(long?))),
                    Enumerable.Empty<ParameterExpression>());
            Func<long?> f = e.Compile();
            Assert.Equal((long?)(~value), f());
        }

        private static void VerifyArithmeticOnesComplementNullableULong(ulong? value)
        {
            Expression<Func<ulong?>> e =
                Expression.Lambda<Func<ulong?>>(
                    Expression.OnesComplement(Expression.Constant(value, typeof(ulong?))),
                    Enumerable.Empty<ParameterExpression>());
            Func<ulong?> f = e.Compile();
            Assert.Equal((ulong?)(~value), f());
        }

        private static void VerifyArithmeticOnesComplementNullableByte(byte? value)
        {
            Expression<Func<byte?>> e =
                Expression.Lambda<Func<byte?>>(
                    Expression.OnesComplement(Expression.Constant(value, typeof(byte?))),
                    Enumerable.Empty<ParameterExpression>());
            Func<byte?> f = e.Compile();
            Assert.Equal((byte?)(~value), f());
        }

        private static void VerifyArithmeticOnesComplementNullableSByte(sbyte? value)
        {
            Expression<Func<sbyte?>> e =
                Expression.Lambda<Func<sbyte?>>(
                    Expression.OnesComplement(Expression.Constant(value, typeof(sbyte?))),
                    Enumerable.Empty<ParameterExpression>());
            Func<sbyte?> f = e.Compile();
            Assert.Equal((sbyte?)(~value), f());
        }

        #endregion
    }
}

redpajama_set_name: RedPajamaGithub


text:
Rememoried (PS4) Review
Posted on May 5, 2018 by Rob Pitt
"You count the stars above your head just like the one who pointed a finger at you from the unknown. The closer you get to infinity, the more you get lost in the numbers created to describe the real world, and your eyelids become curtains that hide unexpected discoveries beyond the borders, reached by only the strongest thoughts. This exciting play for one spectator is a reward for everyday gifts of the mind."
Have you ever played a game and came away from it wondering what you've just played through and how to describe it – even if you have managed to play it all the way through and get every trophy? I've felt like that with two games this generation so far, North and Rememoried. North was an interesting narrative game which took real-life situations and twisted them into a strange universe with a lot of symbolism and deep meaning behind the message it was portraying, Rememoried is still a little fuzzy to me.
I guess you could say that Rememoried, from Hangonit, is a game which places you into the thoughts and dreams of the protagonist as you solve a series of first-person puzzles whilst jumping from scene to scene. With very little to guide you, you must work your way through with the odd cryptic hint here and there in order to create new platforms and traverse strange and fantastical planes of being within these beautiful looking dimensions. The core mechanic is a strange one, and one which is utilised a lot within the game, but with the constantly changing environments it feels fresh each time you make a leap to the next chapter – who knows, maybe the next leap will be the leap home.
Rememoried is currently only out in American regions – I have reached out for more info on when/if this is coming to the EU – until then, if you like what you see then you can obtain the game via a new account and gain trophies on your main account.
The contrast between the standard grey-scale images and the coloured objects looks so good on your TV.
If you're looking for a deep and engaging story which captivates your mind and draws you in with its amazing narrative and direction then Rememoried isn't the game you're looking for. What we do have is a name and faceless protagonist who is placed within a beautifully artistic dimension of strange forests, floating platforms and strange faces. This game doesn't hold your hand or even tell you what to do, for the most part, it's all about trial and error and exploration in order to achieve your goal, to progress to the next strange environment.
With that being said, the developer has advised that the following is the story for Rememoried:
"If you fall asleep while stargazing, a gate to a new world situated in between the world of memories and the world of dreams will open for you. That intermediate world gradually turns reality to fragments and infuses the player with the desire to know the unknowable. But the most persistent can feel the unknowable."
At first, I was amiss of what to do as I wandered around, looking at the trees, the photo frame, and even walking as far as I could until the game respawned me back at the start. Only after trying out a few things did I realise that there is a pattern to what you have to do, you just have to listen to the voices in your head which come through every now and again as well as look around until you see a path. That's right, you can't look in one direction for the duration of the game as you won't see the exit, but just like the Doctor Who stone angels, if you look away then things begin to change whilst you don't look.
Yes, there is a floating Seahorse, why wouldn't there be?
The crux of Rememoried lies within its puzzle elements. Each glorious landscape has you looking for the clue which leads to the exit. One level has you climbing a bunch of floating platforms until you reach a ladder, another revolves around finding an Indiana Jones style 'Leap of faith' pathway, and another even has you dealing with the aftermath of a bomb as you search for the light in order to move on. The main mechanic though lies around the fact that not everything is what it seems and dreams only remain the same whilst the dreamer is observing them.
For example, when you are trying to climb the floating platforms, you will quickly realise that you can't jump up them because the next one is too high or too far away from your reach. However, if you spin around and look away and then look back you will notice that the platform has moved. This is the core gameplay mechanic which had me confused at first yet it follows throughout the whole experience. I don't want to give away the puzzles, as that will defeat the object of a game like this. Just sit back, relax and enjoy the beautiful landscapes as you look around and manipulate the objects into a path in order to escape.
I love this stage, the reflections and the light effects are great! If you look behind you then it may not be as pretty..
The variety of the aforementioned puzzles isn't huge, and once you get the gist of the game, a lot of the chapters you will breeze through within a few minutes each – however, Rememoried for me was more about the journey through the amazing world that Vladimir Kudelka (the sole creator of the game at Hangonit) has created. The visuals really help to capture your interest and keeps you engaged in the game, making you want to see what Vladimir comes up with next. From exploring a grey-scale forest, complete with armchair and floating photo frames, with various strikingly green reflective trees, to pitch black environments illuminated by the contrasting massive white moon in the background – this game is a photographic paradise.
There doesn't appear to be much meaning behind the items, not from what I can see, but they all look great nonetheless. You'll come across modern machinery, Roman architecture, rocks, mountains and more as you wander through this subconscious world. If I had to pick the most artistic game I've played this year, I would say Rememoried would win that choice hands down. Hopefully you can see why from the screenshots I've placed upon this page – it's a game which anyone can just pick up and go through at their own pace whilst they take in everything that's around them – even if the platforming puzzles do get a little frustrating.
Once again, the coloured trees on the floating islands are so cool!
The music within the game is a mixed bag. Not in terms of quality but just in terms of the game is really random with the music. It appears the audio has come from many different sources and each track was chosen specifically for each level. I personally found this very enjoyable and it added to the overall experience – I would sometimes just leisurely stroll around and listen to the music as I worked out where I was going as I was in no rush to complete the game.
As I mentioned above as well, sometimes the narrators will give you hints about what to do via a cryptic message or a phrase which doesn't seem to make sense until you see what they are on about. The way the voices and lines are delivered really impacts the experience as it's as if you are lost in a REM dream and someone is trying to speak to you and wake you up, you can hear them but everything takes a whilst to sink in as you try and piece together what they 'actually' said.
Another thing this game does right with its audio cues is the directional audio. Some of the puzzle aspects will require you to locate a sound or listen out for certain noises. Pop on a pair of headphones and it makes it a lot easier as you can hear exactly where the objects are which are making a noise.
All in all, I enjoyed my time with Rememoried. I managed to unlock all the trophies on my first playthrough without having to use a guide or replay anything. I didn't even look at the trophies before I began playing, I just obtained them all naturally. There is no platinum though, only gold, silver and bronze. I would recommend this to people who like walking simulators and games with their own unique artistic design.
Rememoried is an artistic game which revolves around simple puzzles and exploration of small environments. Technically there isn't a 'story' which I could piece together, but rather a combination of various different thoughts and dreams all combined into a beautiful looking experience. The core mechanic revolves around seeking a way out of each instance and platforming, platforming which can get frustrating and seem impossible at times yet also therapeutic and relaxing in other places. Visually the game is gorgeous, the music is perfectly suited to each situation, and the voice-over work fits in really well with the 'dream' aesthetic. I wouldn't call this a game as such, I would say this is more of an experience with added puzzle-like mechanics akin to games like Everybody's gone to the Rapture and Dear Esther.
The visuals are beautiful and a delight to look at
The music is similarly a perfect match for the game
Anyone can play this with any level of comprehension due to it's simple nature
Very atmospheric and enchanting
No instructions or guidance, you must work it all out for yourself (not many games do that these days)
The jumping and 'looking away' mechanics can be a bit fiddly
The puzzles are simple, so it's more akin to a visual delight than a puzzle game
It's quite short (about 3 hours)
PSN (UK)
Earth Defense Force: Iron Rain
Super Amazeballs (PSVR) Review
Megadimension Neptunia VIIR (PS4, PSVR) Review
Developer: Hangonit
Publisher: Hangonit
: 0 : 2 : 1 : 7


text:
require( [ 'require-config' ], function( rc ) {
    "use strict";
    require( [ 'gui', 'controller-webform', 'settings', 'connection', 'enketo-js/FormModel', 'translator', 'store', 'utils', 'form-cache', 'application-cache', 'jquery', 'promise-by-Q' ],
        function( gui, controller, settings, connection, FormModel, t, store, utils, formCache, applicationCache, $ ) {
            var $loader = $( '.form__loader' ),
                $buttons = $( '.form-header__button--print, button#validate-form, button#submit-form' ),
                survey = {
                    enketoId: settings.enketoId,
                    serverUrl: settings.serverUrl,
                    xformId: settings.xformId,
                    xformUrl: settings.xformUrl,
                    defaults: settings.defaults
                };

            _setEmergencyHandlers();

            // workaround for issue with compiled JS in IE11. For some reason promise-by-Q.js is not loaded before db.js....
            if ( !window.Promise ) window.Promise = Q.Promise;

            if ( settings.offline ) {
                console.debug( 'in offline mode' );
                formCache.init( survey )
                    .then( _swapTheme )
                    .then( _init )
                    .then( formCache.updateMaxSubmissionSize )
                    .then( formCache.updateMedia )
                    .then( function( s ) {
                        settings.maxSize = s.maxSize;
                        _setFormCacheEventHandlers();
                        _setApplicationCacheEventHandlers();
                        applicationCache.init();
                    } )
                    .catch( _showErrorOrAuthenticate );
            } else {
                console.debug( 'in online mode' );
                connection.getFormParts( survey )
                    .then( _swapTheme )
                    .then( _init )
                    .then( connection.getMaximumSubmissionSize )
                    .then( function( maxSize ) {
                        settings.maxSize = maxSize;
                    } )
                    .catch( _showErrorOrAuthenticate );
            }

            function _showErrorOrAuthenticate( error ) {
                error = ( typeof error === 'string' ) ? new Error( error ) : error;
                console.log( 'error', error, error.stack );
                $loader.addClass( 'fail' );
                if ( error.status === 401 ) {
                    window.location.href = '/login?return_url=' + encodeURIComponent( window.location.href );
                } else {
                    gui.alert( error.message, t( 'alert.loaderror.heading' ) );
                }
            }

            function _setApplicationCacheEventHandlers() {
                $( document )
                    .on( 'offlinelaunchcapable', function() {
                        console.log( 'This form is fully offline-capable!' );
                        gui.updateStatus.offlineCapable( true );
                        connection.getManifestVersion( $( 'html' ).attr( 'manifest' ) )
                            .then( gui.updateStatus.applicationVersion );
                    } )
                    .on( 'offlinelaunchincapable', function() {
                        console.error( 'This form cannot (or can no longer) launch offline.' );
                        gui.updateStatus.offlineCapable( false );
                    } )
                    .on( 'applicationupdated', function() {
                        gui.feedback( t( 'alert.appupdated.msg' ), 20, t( 'alert.appupdated.heading' ) );
                    } );
            }

            function _setFormCacheEventHandlers() {
                $( document ).on( 'formupdated', function() {
                    gui.feedback( t( 'alert.formupdated.msg' ), 20, t( 'alert.formupdated.heading' ) );
                } );
            }

            /**
             * Advanced/emergency handlers that should always be activated even if form loading fails.
             */
            function _setEmergencyHandlers() {
                $( '.side-slider__advanced__button.flush-db' ).on( 'click', function() {
                    gui.confirm( {
                        msg: t( 'confirm.deleteall.msg' ),
                        heading: t( 'confirm.deleteall.heading' )
                    }, {
                        posButton: t( 'confirm.deleteall.posButton' ),
                        posAction: function() {
                            store.flush().then( function() {
                                location.reload();
                            } );
                        }
                    } );
                } );
            }

            function _swapTheme( survey ) {

                console.debug( 'swapping theme', survey );

                return new Promise( function( resolve, reject ) {
                    if ( survey.form && survey.model ) {
                        gui.swapTheme( survey.theme || utils.getThemeFromFormStr( survey.form ) )
                            .then( function() {
                                resolve( survey );
                            } );
                    } else {
                        reject( new Error( 'Received form incomplete' ) );
                    }
                } );
            }

            function _prepareInstance( modelStr, defaults ) {
                var model, init,
                    existingInstance = null;

                for ( var path in defaults ) {
                    // TODO full:false support still needs to be added to FormModel.js
                    model = model || new FormModel( modelStr, {
                        full: false
                    } );
                    init = init || model.init();
                    if ( defaults.hasOwnProperty( path ) ) {
                        // if this fails, the FormModel will output a console error and ignore the instruction
                        model.node( path ).setVal( defaults[ path ] );
                    }
                    // TODO would be good to not include nodes that weren't in the defaults parameter
                    // TODO would be good to just pass model along instead of converting to string first
                    existingInstance = model.getStr();
                }
                return existingInstance;
            }

            function _init( formParts ) {
                var error, $form;

                return new Promise( function( resolve, reject ) {
                    if ( formParts && formParts.form && formParts.model ) {
                        $loader.replaceWith( formParts.form );
                        $form = $( 'form.or:eq(0)' );

                        $( document ).ready( function() {
                            // TODO pass $form as first parameter?
                            // controller.init is asynchronous
                            controller.init( 'form.or:eq(0)', {
                                modelStr: formParts.model,
                                instanceStr: _prepareInstance( formParts.model, settings.defaults ),
                                external: formParts.externalData
                            } ).then( function() {
                                $form.add( $buttons ).removeClass( 'hide' );
                                $( 'head>title' ).text( utils.getTitleFromFormStr( formParts.form ) );

                                formParts.$form = $form;
                                resolve( formParts );
                            } );
                        } );
                    } else if ( formParts ) {
                        error = new Error( 'Form not complete.' );
                        errors.status = 400;
                        reject( error );
                    } else {
                        error = new Error( 'Form not found' );
                        error.status = 404;
                        reject( error );
                    }
                } );
            }
        } );
} );


The Ministry of Railway shall likely declare in April / May 2019, the Results of the Computer-Based Online Test for Sub-Inspector (In the Railway Protection Force and Railway Protection Special Force as well as in the Railway Recruitment Boards, Railway Recruitment Cells) carrying 120 Marks only subsequent to Releasing the Final Test Booklet Question Paper Key Set Answers Series A, Series B, Series C & Series D.
The Ministry of Railways held the Computer-Based Online Examinations held Phase-wise (Phase – I [Groups E + F: 19.12.2018], Phase – II [Groups A+B: – 05.01.2019 – 06.01.2019] and now Phase – III [Group C + Group D – 09.01.2019 – 13.01.2019]. The Online Computer-Based Test for the Recruitment to the Post of Sub-Inspectors consisting of 03 Paper (Part – A: General Awareness for 50 Marks, Part – B Arithmetic for 35 Marks + Part C General Intelligence & Reasoning Ability for 35 Marks with the Objective of Shortlisting the Candidates for Physical Measurement Test and Physical Efficiency Test, which remain Qualifying in Nature.
The Ministry of Railways Announced Result of Sub-Inspector Online Test shall be uploaded in the Railway Recruitment Board / Railway Recruitment Cell Websites with the same published in the Leading Newspapers State-wise. The Railway Protection Special Force Railway Recruitment Board / Railway Recruitment Cell shall inform the Candidates Shortlisted in the Online Computer-Based Test through their respective e-Mail Ids with Intimation by way of Cellphone SMS Alert.
Only Candidates Shortlisted with the Minimum Qualifying Marks Category-wise would be called for appearing in the Physical Measurement Test and Physical Efficiency Test (Qualifying in Nature) to be held.
Railway Protection Force / Railway Protection Special Force Website: www.si.rpfonlinereg.org.
Log into Railway Protection Special Force Website for the Results of Sub-Inspectors Online Test in Railway Protection Special Force and Railway Recruitment Boards, Railway Recruitment Cells.


San Anto Cultural Arts has contributed approximately 60 images of murals created as part of the organization's Community Mural/Public Art Program to the Artstor Digital Library.
San Anto Cultural Arts (SACA) is a nonprofit founded by Manuel Castillo, Cruz Ortiz, and Juan Miguel Ramos in 1993 that fosters community-based arts in San Antonio, Texas with origins in the city's Westside, near the Alazan-Apache Housing Projects. SACA operates two programs: The Community Mural & Public Art Program (CMP), and El Placazo Community Newspaper & Mentor Program. The CMP has united professional artists and thousands of local youth to create murals that define the character of the Westside. The program has produced public art projects with neighborhood groups, community members and business, and other nonprofit organizations.
Cruz Ortiz, Carlos Espinosa. 8 Stages of the Life of a Chicana, San Antonio, Texas. Mural. 1995 (Restoration 1999). Image and data provided by San Anto Cultural Arts.


text:
Julie Watts, Editor and Publisher (Part 2)
This week I'm pleased to bring the second part of my online interview with Julie Watts, formerly editor and Publisher of Children's and Young Adult Books with Penguin Books Australia.
In this section Julie discusses what she looked for in deciding whether to publish a book … and also, as an author herself, the view from the other side of the desk.
You were appointed Penguin's Publisher for Children's and Young Adult books. When? How did you make the transition? What were some of your big successes (among them Mao's Last Dancer)?
I began my career at Penguin in 1980 as secretary to the publishing department and in 1986 I was appointed Publisher for the children's and young adult list. The company had been growing year on year, which afforded me many opportunities to work with a wide range of authors across all genres, but which by 1986 began to become too demanding.
Since I could no longer do justice to both the adult and children's lists in my then role as Chief Editor, I was offered the choice to become publisher of adult fiction or publisher of children's books.
I had to think long and hard about this because I loved both, but in the end I chose Children's/YA for two reasons: one was that I could see the potential for massive growth in this area; the other was that I wanted children's books to receive proper recognition, and to try and bring the whole field 'out of the corner'.
Over the next ten years the Children's/YA list grew tenfold, as did the wonderful team that worked with me.
Bites, Nibbles and Chomps
I have had the privilege of working with many of Australia's top authors and illustrators but probably the best known are Pamela Allen in the pre-school area, Graeme Base with his more sophisticated picture books, Paul Jennings and his 'Un' series among many other titles at primary level and Sonya Hartnett as trailblazer in the YA field.
I am particularly proud of the Puffin Aussie Bites series for newly-independent readers which became a phenomenon (and a much-copied one) that went on to spawn Puffin Aussie Nibbles and Puffin Aussie Chomps.
It was always very rewarding to be involved with something that hadn't been done before, such as your own narrative non-fiction, Tony, for all age groups. I believe Soldier Boy has become something of a classic, which is wonderful.
Mao's Last Dancer
Towards the end of my 25 years with Penguin I found myself gravitating back to adult books and that's how I came to be the publisher of Li Cunxin's Mao's Last Dancer.
How could I resist that 8-page bullet-point synopsis that was looking for a ghostwriter – when I could see not only an inspirational story for young people but also a full-blown adult memoir to rival Frank McCourt's Angela's Ashes, plus a Cinderella-style picture book (The Peasant Prince) and a movie, if only the subject would write the book himself?
Working with Li as his 680,000 words poured out of him ('Don't worry,' I said, 'we will only pick the best bits.') was a challenge and a joy, made possible in part because of the wonderful training I'd received early in my career from mentors like Brian Johns, Kay Ronai, Bruce Sims and Jackie Yowell.
I remember working with that great editor, Suzanne Wilson, during the last stages of Soldier Boy, when she'd started cutting back Li's vast manuscript. What are some of the key things you look for when deciding whether to publish a manuscript? The story? The quality of the writing? Presentation? Was an agent always necessary?
I don't like to say that I'm looking for anything in particular. A manuscript will tell me if it's something I believe in.
Of course the quality of the writing is important and the best books do have 'story' at their heart, but often one can come at the expense of the other and it doesn't mean something shouldn't be published.
There are many highly readable novels out there which are big on heart, peopled with characters that you care about and with a page-turning plot.
Many readers love these kinds of books even if the writing isn't 'literature'.
Similarly, you can have a beautifully crafted, faultless work that you are full of admiration for, but this might end up being something that appeals only to a refined intellect.
Bringing the right books and readers together…
As a publisher, I always felt it was my job to bring the right books and readers together. So long as a manuscript was the best it could be (or had the potential to become such) within its own genre and I could identify a need, a market for it, then that's what counted for me.
Presentation comes into it mainly because editors and publishers are so overwhelmed with submissions that it does help when something is presented clearly.
During my years at Penguin an agent was not necessary.
I had been trained from the start to look for potential in raw material and had discovered many a treasure in the 'slush pile', whereas often, via an agent, a work came already defined, with an opinion on it, or a pitch, that I might not necessarily have agreed with. (That wasn't always the case, of course – I'm just illustrating why it wasn't necessary.)
In later years, as publishers became completely overwhelmed with submissions and had to close their doors to unsolicited manuscripts, the role of an agent became much more important: we were glad to have the benefit of a filtering process and for submissions to arrive with recommendations.
Did you accept unsolicited manuscripts? What advice would you give to beginner writers wanting to submit a manuscript to a publisher? What are some of the dos and don'ts that new writers should follow?
I think I covered this in the point above. I believe it is very difficult now for beginner writers to break in due to huge competition and a diminished market. Maybe it's best to try and get an agent today.
Sometimes persistence pays, I guess, and certainly beginners will need a lot of patience as they wait for publishers in turn to consider (and this can take months) their material. If they wish to speed up the process they can submit to a number of publishers simultaneously, but would need to say so on their covering letter.
Pitches:
It's important to include a covering letter which acts as a kind of pitch. Along with a few sample chapters, a synopsis, an indication of market, the reason this book is necessary, any relevant information about the author – all of that is helpful.
Most publishers' websites will state if they are receiving unsolicited manuscripts and what their submission requirements are.
I would also advise against submitting material along with a gimmick, like a balloon attached to the manuscript, which happened to me more than once. It doesn't help!
In any case, work today would be submitted electronically in most cases.
Finally you became an author yourself with the biography The Art of Graeme Base. How difficult was it to make the change to the other side of the desk? Is there anything you would change to your approach as an editor and publisher in the light of your experience as an author?
I was commissioned to write this book, which is different to creating something from within me, if you know what I mean. So perhaps being on the other side of the desk in this instance wasn't as hard as it might have been were I pouring my heart and soul onto the paper.
I had a job to do, describing Graeme's childhood and the imaginative and creative process that came into play as he produced book after sensational book.
Trying to please both the publisher and the subject was sometimes tricky, and working with an editor who had no experience with children's books and therefore knew little about the field reinforced my belief that it's really important to match up the right editor with the right author.
Oh, and the schedule was pretty tight!
You retired from Penguin in 2005 honoured by the profession with the Dromkeen Medal and Pixie O'Harris Award. What are you doing now? Are you still involved with the business as a writer or consultant? Or are you looking at new fields of endeavour?
The first year or so after I left Penguin I was finishing various books that I'd already been working on, and I was fortunate indeed to be the freelance editor on Sonya Hartnett's The Ghost's Child.
The Art of Graeme Base occupied me full time for a whole year after that. All the while, I continued working with Pamela Allen on each of her picture books, something I still do today. We have now done 30+ books together.
I now live in the country where my husband and I are rebuilding our stone cottage and growing vegetables and all that kind of thing you do when you retire.
But I'm never far away from the publishing scene and I do take on the occasional private job, working from my garden studio.
Watch this space...
One such was working with the then unpublished novelist Jon Bauer on the early drafts of his Rocks in the Belly, which went on to win the 2011 Indie Award for Best Debut Fiction and was also shortlisted for the International IMPAC Dublin Literary Award and long-listed for the Miles Franklin Literary Award.
There are a few other things in the wings, so watch this space!
Thank you Julie Watts. It's been a privilege to have worked with you as an editor, publisher and friend for so many years, and for you to have taken the time to share your thoughts and experience with us on this post.
Julie Watts, courtesy Julie Watts.
Book covers all courtesy Penguin Group (Australia):
Fat Ferdie by Pamela Allen.
Mao's Last Dancer by Li Cunxin.
The Art of Graeme Base by Juilie Watts.
The Ghost's Child by Sonya Hartnett.


Mom tod me about the volunteer mission in her email on Sat..that is great what you guys are doing and trust me..when a soldier who gets that package who is somebody who never gets any type of mail..it is a sight to see. The kid almost starts crying because they got something in the mail while serving overseas!! Keep up the great work and thank you for your time.
Just a quick note to thank you & the GS Blue Star Mothers for the care packages that you sent to me and some of our soldiers in our unit. I know they were greatly appreciated and a pleasant surprise! Not one thing went to waste as the boxes made the rounds among more than the intended soldiers! Soldiers are great at sharing. Thank you again for the boxes of sunshine !!
I have a TOC ( Tactical operations Center) for My PLT and i built a large shelf where i put all the goodies we get in for the guys to grab what they need. The food has been going quicker then i ever imagined 18 year old boys and 25 year SGTs love to eat apparently. Very little contact with the enemy around here which is good for the men and me. I have been having meetings with villagers and elders and afghan security forces every day to try an figure out solutions to the thousands of problems they have here in Afghanistan. I have been working my men pretty hard but i know when it is all said and done they will be proud of the better Afghanistan they will be apart of. I find myself daily doing more and more Afghan things and at points the only true difference i have with some of these men is that i am a believer in Christ and they are a follower of Muhammad. However, i always joke and say " We are all sons of Abraham " . A lot of what i am doing will one day help me if I do ever accomplish my dreams of becoming a Politician, that is for sure. This place is like no country any American will ever deal with. Poverty, strong Islamic law and ruthless Jihadist that kill in the name misunderstood Islamic view.With out a doubt this is the poorest country iwill ever go to. No running water , no electrical systems , mud hut homes and very few children haves shoes, clothing . 15% of the population is literate and there is no medical facilities to treat there millions of medical problems. 95 % of the people here support us even love that we are in Afghanistan. It is my job to sway the other 5 % and bring them on board to a free and secure Afghanistan. However, that goal is far from the near future. Our job here is far from over , but we one day will have to give this country to the Afghans to run on their own and that is what my PLT is doing here in Goshta Afghanstan. The days have been long but there is no other job in the world that i would rather be doing then leading smart motivated American Paratroopers to changing and securing a once unsecure Afghanistan. Remind all that you come into contact with that we are proud of what we do and we ask nothing in return other than support from those back home. Keep the packages coming; they are great.


text:
Q: undefined, its not counting, not working why Ive made script to count how many days passed from our birthday, but when its showing it say undefined, I don't know why, I don't see the problem, maybe you can help me.
    var dzien = prompt("Podaj dzień urodzin: ");
    var miesiac = prompt("Podaj miesiąc urodzin: ");
    var rok = prompt("Podaj rok urodzin: ");

    var data = new Date();  //Funkcja w js
    var today = data.getDate();  //Pobranie dnia (numer 1->31)
    var month = data.getMonth() + 1;  //Pobranie miesiąca, w js 0-11 -> dlatego jest +1

        var finalR = 0;
    if ( month == 1 ) {
        var finalR = styczen.iledni/1 + today/1;
    } else if ( month == 2) {
        var finalR = luty.iledni/1 + today/1;
    } else if ( month == 3) {
        var finalR = marzec.iledni/1 + today/1;
    } else if ( month == 4) {
        var finalR = kwiecien.iledni/1 + today/1;
    } else if ( month == 5) {
        var finalR = maj.iledni/1 + today/1;
    } else if ( month == 6) {
        var finalR = czerwiec.iledni/1 + today/1;
    } else if ( month == 7) {
        var finalR = lipiec.iledni/1 + today/1;
    } else if ( month == 8) {
        var finalR = sierpien.iledni/1 + today/1;
    } else if ( month == 9) {
        var finalR = wrzesien.iledni/1 + today/1;
    } else if ( month == 10) {
        var finalR = pazdziernik.iledni/1 + today/1;
    } else if ( month == 11) {
        var finalR = listopad.iledni/1 + today/1;
    } else if ( month == 12) {
        var finalR = grudzien.iledni/1 + today/1;
    }

    if (dzien > 31 || miesiac > 12 || rok > 2016 || dzien <= 0 || miesiac <= 0 || rok <= 0) {
        if(dzien > 31 || dzien <= 0){
            alert("Nie ma takiego dnia miesiąca! Podaj jeszcze raz.");
            var dzien = prompt("Podaj dzień: ");
        }
        if(miesiac > 12 || miesiac <= 0){
            alert("Nie ma takiego miesiąca! Podaj jeszcze raz.");
            var miesiac = prompt("Podaj miesiąc: ");
        }
        if(rok > 2016 || rok <= 0){
            alert("Kłamiesz! Podaj prawdziwy rok urodzenia.");
            var rok = prompt("Podaj rok: ");
        }
    }
    if (isNaN(dzien) || isNaN(rok)) {
        if (isNaN(dzien)){
            alert('Musisz wpisać liczbę!');
            var dzien = prompt("Podaj dzień: ");
        }
        if (isNaN(rok)){
            alert('Musisz wpisać liczbę!');
            var rok = prompt("Podaj rok: ");
        }
    }

    var styczen      = {  nazwa: "Styczeń",      iloscDni: 31, ilezostalo: 335, iledni:  0    };
    var luty         = {  nazwa: "Luty",         iloscDni: 29, ilezostalo: 306, iledni:  31   };
    var marzec       = {  nazwa: "Marzec",       iloscDni: 31, ilezostalo: 275, iledni:  60   };
    var kwiecien     = {  nazwa: "Kwiecień",     iloscDni: 30, ilezostalo: 245, iledni:  91   };
    var maj          = {  nazwa: "Maj",          iloscDni: 31, ilezostalo: 214, iledni:  121  };
    var czerwiec     = {  nazwa: "Czerwiec",     iloscDni: 30, ilezostalo: 184, iledni:  152  };
    var lipiec       = {  nazwa: "Lipiec",       iloscDni: 31, ilezostalo: 153, iledni:  182  };
    var sierpien     = {  nazwa: "Sierpień",     iloscDni: 31, ilezostalo: 122, iledni:  213  };
    var wrzesien     = {  nazwa: "Wrzesień",     iloscDni: 30, ilezostalo: 92,  iledni:  244  };
    var pazdziernik  = {  nazwa: "Październik",  iloscDni: 31, ilezostalo: 61,  iledni:  274  };
    var listopad     = {  nazwa: "Listopad",     iloscDni: 30, ilezostalo: 31,  iledni:  305  };
    var grudzien     = {  nazwa: "Grudzień",     iloscDni: 31, ilezostalo: 0,   iledni:  335  };

    var miesiace     = {  ilosc: 12 };

    var lata         = {  obecnyRok: 2016,       ile: 365 };

    if ( miesiac == styczen.nazwa || miesiac == "styczen" || miesiac == "styczeń" || miesiac == 1 ){

        var daysLeft = styczen.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = styczen.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == luty.nazwa || miesiac == "luty" || miesiac == 2){

        var daysLeft = luty.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = luty.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == marzec.nazwa || miesiac == "marzec" || miesiac == 3){

        var daysLeft = marzec.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = marzec.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == kwiecien.nazwa || miesiac == "kwiecień" || miesiac == "kwiecien" || miesiac == 4){

        var daysLeft = kwiecien.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = kwiecien.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == maj.nazwa || miesiac == "maj" || miesiac == 5){

        var daysLeft = maj.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = maj.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == czerwiec.nazwa || miesiac == "czerwiec" || miesiac == 6){

        var daysLeft = czerwiec.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = czerwiec.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == lipiec.nazwa || miesiac == "lipiec" || miesiac == 7){

        var daysLeft = lipiec.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = lipiec.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + finalR/1 + (yearsLeft * 365);

    } else if ( miesiac == sierpien.nazwa || miesiac == "sierpien" || miesiac == "sierpień" || miesiac == 8){

        var daysLeft = sierpien.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = sierpien.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == wrzesien.nazwa || miesiac == "wrzesień" || miesiac == "wrzesien" || miesiac == 9){

        var daysLeft = wrzesien.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = wrzesien.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == pazdziernik.nazwa || miesiac == "październik" || miesiac == "pazdziernik" || miesiac == 10){

        var daysLeft = pazdziernik.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = pazdziernik.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == listopad.nazwa || miesiac == "listopad" || miesiac == 11){

        var daysLeft = listopad.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = listopad.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;

    } else if ( miesiac == grudzien.nazwa || miesiac == "grudzień" || miesiac == "grudzien" || miesiac == 12){

        var daysLeft = grudzien.iloscDni - dzien;
        var yearsLeft = lata.obecnyRok - rok - 1;
        var monthsLeft = grudzien.ilezostalo/1 + daysLeft/1;
        var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;
    }

its basically in polish but, styczen - january, luty - february ..

A: The first error is that you declare and assign finalR variable and than  you repeat to declare and assign the same variable that are visible only inside the statement, so inside the first if you need only assign the value to finalR
var finalR = styczen.iledni/1 + today/1;

become:
finalR = styczen.iledni/1 + today/1;

and all over all declaration.
Then styczen and all the other variable that you assign to finalR in this statement are undefined in the code that you have pasted. You need to move all this block before the if statement.
var styczen      = {  nazwa: "Styczeń",      iloscDni: 31, ilezostalo: 335, iledni:  0    };
var luty         = {  nazwa: "Luty",         iloscDni: 29, ilezostalo: 306, iledni:  31   };

Every declaration inside the last if statement are not necessary. You can declare every variable outside and then assign them inside. If you need a default you can declare and assign them too.
Inside the last if rok is undefined too, dzien will never have what you aspect because you are trying to reassign dzien variable but you redeclare it inside the statement that outside doesn't have scope outside.
A lot of this part are the same you can create a function for the final statement and use it:
var yourfunc = function(arg1, arg2, arg3, lata, finalR) {
    var daysLeft = arg1.iloscDni - arg2;
    var yearsLeft = lata.obecnyRok - arg3 - 1;
    var monthsLeft = arg1.ilezostalo/1 + daysLeft/1;
    var finalResult = monthsLeft/1 + (yearsLeft * 365) + finalR/1;
}

To find what goes wrong, you can use a js debugger with every browser.
At the end @Teemu on his comment has right.


text:
Q: How to make nested for-loop do every permutation Basic question, but unsure how to resolve based on other posts that use vectors of characters or other situations that don't fully enlighten my own simple problem.
I want to make a nested for loop to calculate all possible combinations of two equations (x and y) along two vectors, and store every single calculation.
Here is my code:
n_c = 1
m_c = 1
n_n = 1
m_n = 1
my_data_c = c()
my_data_n = c()
rho_c_store = c()
rho_n_store = c()

for(i in 1:10){
  for(j in 1:10){
    rho_c = i / 10
    rho_n = j / 10

    x = (rho_c*n_c)/m_c
    y = (rho_n*n_n)/m_n

    rho_c_store[i] = rho_c
    rho_n_store[j] = rho_n

    my_data_c[i] = x
    my_data_n[j] = y

    my_data = cbind(rho_c_store,rho_n_store,my_data_c,my_data_n)
  }
}
print(my_data)

The output I get is:
> print(my_data)
      rho_c_store rho_n_store my_data_c my_data_n
 [1,]         0.1         0.1       0.1       0.1
 [2,]         0.2         0.2       0.2       0.2
 [3,]         0.3         0.3       0.3       0.3
 [4,]         0.4         0.4       0.4       0.4
 [5,]         0.5         0.5       0.5       0.5
 [6,]         0.6         0.6       0.6       0.6
 [7,]         0.7         0.7       0.7       0.7
 [8,]         0.8         0.8       0.8       0.8
 [9,]         0.9         0.9       0.9       0.9
[10,]         1.0         1.0       1.0       1.0

However, the data I want is:
> print(my_data)
      rho_c_store rho_n_store my_data_c my_data_n
 [1,]         0.1         0.1       ?        ?
 [2,]         0.1         0.2       ?        ?
 [3,]         0.1         0.3       ?        ?
 [4,]         0.1         0.4       ?        ?
 [5,]         0.1         0.5       ?        ?
 [6,]         0.1         0.6       ?        ?
 [7,]         0.1         0.7       ?        ?
 [8,]         0.1         0.8       ?        ?
 [9,]         0.1         0.9       ?        ?
[10,]         0.1         1.0       ?        ?
[11,]         0.2         0.1       ?        ?
[12,]         0.2         0.2       ?        ?
[13,]         0.2         0.3       ?        ?
[14,]         0.2         0.4       ?        ?
[15,]         0.2         0.5       ?        ?

... etc

I know I could solve this in some way with grid.expand() and an apply() function (trying to figure that out in parallel), but I'm annoyed at my inability to solve this basic code setup.
Thanks!

A: The problem is, that you store the variables at the wrong place. In other words when you loop through the second for-loop your i has always the same value. So you store each result of x on the same place. That's why you have to create an index which goes from 1:100 (in your case), and not from 1:10 only.
Hope you understand what I mean.
If I take your code with with some corrections it should look like this
n_c = 1
m_c = 1
n_n = 1
m_n = 1
my_data_c = c()
my_data_n = c()
rho_c_store = c()
rho_n_store = c()

iter = 10

for(i in 1:iter){
  sequence = seq(i*iter-iter+1,i*iter)
  for(j in 1:iter){
    index = sequence[j]

    rho_c = i / 10
    rho_n = j / 10

    x = (rho_c*n_c)/m_c
    y = (rho_n*n_n)/m_n

    rho_c_store[index] = rho_c
    rho_n_store[index] = rho_n

    my_data_c[index] = x
    my_data_n[index] = y

    my_data = cbind(rho_c_store,rho_n_store,my_data_c,my_data_n)
  }
}
print(my_data)

In my example my seqence is an altering index which goes from 1 to 10 when i = 1 and then from 11 to 20 and so on.
I hope this is what you meant.

A: As the others have pointed out you overwrite your elements again and again - you do not actually assign to the row that you mean to. I've included the code that explicitly calculates the index - maybe this is clearer to you. I've also made a few corrections (e.g. you can take the final construction out of the loop).
n_c <- 1 # generally: use <- for assignment
m_c <- 1
n_n <- 1
m_n <- 1
my_data_c <- c() # better: pre-allocate as vector("numeric", 100)
my_data_n <- c()
rho_c_store <- c()
rho_n_store <- c()

for (i in 1:10) {
  # you can move this assignment to the outer loop
  rho_c <- i / 10
  x <- (rho_c * n_c)/m_c

  for (j in 1:10) {
    rho_n <- j / 10
    y <- (rho_n * n_n)/m_n

    index <- 10*(i-1) + j
    rho_c_store[index] <- rho_c
    rho_n_store[index] <- rho_n

    my_data_c[index] <- x
    my_data_n[index] <- y
  }
}

# cbind should be outside the for loop, you only want to build the final
# matrix once you've completed building the vectors
my_data <- cbind(rho_c_store, rho_n_store, my_data_c, my_data_n)

print(my_data)

Hope this helps