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text:
In algebraic K-theory, the K-theory of a category C (usually equipped with some kind of additional data) is a sequence of abelian groups Ki(C) associated to it. If C is an abelian category, there is no need for extra data, but in general it only makes sense to speak of K-theory after specifying on C a structure of an exact category, or of a Waldhausen category, or of a dg-category, or possibly some other variants. Thus, there are several constructions of those groups, corresponding to various kinds of structures put on C. Traditionally, the K-theory of C is defined to be the result of a suitable construction, but in some contexts there are more conceptual definitions. For instance, the K-theory is a 'universal additive invariant' of dg-categories and small stable ∞-categories.

The motivation for this notion comes from algebraic K-theory of rings. For a ring R Daniel Quillen in  introduced two equivalent ways to find the higher K-theory. The  plus construction expresses Ki(R) in terms of R directly, but it's hard to prove properties of the result, including basic ones like functoriality. The other way is to consider the exact category of projective modules over R and to set Ki(R) to be the K-theory of that category, defined using the Q-construction. This approach proved to be more useful, and could be applied to other exact categories as well. Later Friedhelm Waldhausen in  extended the notion of K-theory even further, to very different kinds of categories, including the category of topological spaces.

K-theory of Waldhausen categories
In algebra, the S-construction is a construction in algebraic K-theory that produces a model that can be used to define higher K-groups. It is due to Friedhelm Waldhausen and concerns a category with cofibrations and weak equivalences; such a category is called a Waldhausen category and generalizes Quillen's exact category. A cofibration can be thought of as analogous to a monomorphism, and a category with cofibrations is one in which, roughly speaking, monomorphisms are stable under pushouts. According to Waldhausen, the "S" was chosen to stand for Graeme B. Segal.

Unlike the Q-construction, which produces a topological space, the S-construction produces a simplicial set.

Details
The arrow category  of a category C is a category whose objects are morphisms in C and whose morphisms are squares in C. Let a finite ordered set  be viewed as a category in the usual way.

Let C be a category with cofibrations and let  be a category whose objects are functors  such that, for , ,  is a cofibration, and  is the pushout of  and . The category  defined in this manner is itself a category with cofibrations. One can therefore iterate the construction, forming the sequence. This sequence is a spectrum called the K-theory spectrum of C.

The additivity theorem
Most basic properties of algebraic K-theory of categories are consequences of the following important theorem. There are versions of it in all available settings. Here's a statement for Waldhausen categories. Notably, it's used to show that the sequence of spaces obtained by the iterated S-construction is an  Ω-spectrum.

Let C be a Waldhausen category. The category of extensions  has as objects the sequences  in C, where the first map is a cofibration, and  is a quotient map, i.e. a  pushout of the first one along the zero map A → 0. This category has a natural Waldhausen structure, and the forgetful functor  from  to C × C respects it. The additivity theorem says that the induced map on K-theory spaces  is a homotopy equivalence.

For  dg-categories the statement is similar. Let C be a small pretriangulated dg-category with a semiorthogonal decomposition . Then the map of K-theory spectra K(C) → K(C1) ⊕ K(C2) is a homotopy equivalence. In fact, K-theory is a universal functor satisfying this additivity property and  Morita invariance.

Category of finite sets

Consider the category of pointed finite sets.  This category has an object  for every natural number k, and the morphisms in this category are the functions  which preserve the zero element.  A theorem of Barratt, Priddy and Quillen says that the algebraic K-theory of this category is a sphere spectrum.

Miscellaneous

More generally in abstract category theory, the K-theory of a category is a type of decategorification in which a set is created from an equivalence class of objects in a stable (∞,1)-category, where the elements of the set inherit an Abelian group structure from the exact sequences in the category.

Group completion method
The Grothendieck group construction is a functor from the category of rings to the category of abelian groups. The higher K-theory should then be a functor from the category of rings but to the category of higher objects such as simplicial abelian groups.

Topological Hochschild homology
Waldhausen introduced the idea of a trace map from the algebraic K-theory of a ring to its Hochschild homology; by way of this map, information can be obtained about the K-theory from the Hochschild homology. Bökstedt factorized this trace map, leading to the idea of a functor known as the topological Hochschild homology of the ring's Eilenberg–MacLane spectrum.

K-theory of a simplicial ring
If R is a constant simplicial ring, then this is the same thing as K-theory of a ring.

See also
Volodin space
Cotriple homology

Notes

References

Further reading

For the recent ∞-category approach, see

Category theory
K-theory

redpajama_set_name: RedPajamaWikipedia


Optical characterization of hafnium boride and hafnium carbide-based ceramics for solar energy receivers.
Musa, C.; Licheri, R.; Orrù, R.; Cao, G.; Balbo, A.; Zanotto, F.; Mercatelli, L.; Sani, E.
The availability of spectrally-selective, thermally stable and more efficient sunlight absorbers represents a crucial aspect for the development of solar energy technologies able to operate at elevated temperature. In this regard, the optical properties of dense HfB2, HfC, HfB2-SiC and HfB2-HfC-SiC products are assessed, compared and discussed in the present work, in view of the possible utilization of such Ultra-High-Temperature Ceramics (UHTCs) for thermodynamic solar energy conversion. The materials above are first produced in bulk form by Spark Plasma Sintering (SPS), starting from ceramic powders preliminarily prepared by Self-propagating High-temperature Synthesis (SHS), or by reactive-SPS, using elemental reactants. All sintered specimens displayed relative density above 95%, with the composite systems approaching the theoretical density values, due to the beneficial role played by SiC as sintering aid, which also improves the oxidation resistance of the resulting UHTCs. The material composition is found to largely affect the related optical properties, as the SiC addition typically increases solar absorbance and decreases spectral selectivity with respect to pure UHTC boride and carbide phases. A final discussion is given about the best tradeoff material.
Musa C, Licheri R, Orrù R, Cao G, Balbo A, Zanotto F, et al. Optical characterization of hafnium boride and hafnium carbide-based ceramics for solar energy receivers. Solar Energy. 2018;169:111-119.


text:
Communities developing resources and competencies for using their languages
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Language & Culture Archives
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Software & Fonts
SIL offers training in disciplines relevant to sustainable language development.
For Specialties
Over 7,000 languages are spoken or signed. CLICK for map of world languages & regional websites.
Why Languages Matter
About SIL
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Discover SIL
Senior Consultants
Languages matter: finding classroom solutions for struggling refugee students in Africa
Courtesy of Save the Children Uganda
SIL studied the challenging learning situation of students in Uganda refugee camps, like these who are sharing a book.
SIL is exploring how increasing urbanization, globalization and migration are affecting language use among smaller local language communities. A task force is looking at how SIL could shape its strategies and programs to better engage with diaspora populations and those who work among them.
But SIL is not just exploring--it's also taking some practical steps, specifically for the world's 25 million registered refugees. In Africa, SIL consultants have recently been involved in an effort to improve the difficult learning situation facing young displaced students in Uganda refugee settlements. The nation is hosting 1.3 million refugees—half of them children—from 13 countries, especially South Sudan, the Democratic Republic of Congo, Burundi, Rwanda and Somalia.
A group of organizations* in Uganda that is looking to improve the education experience for refugee children requested help from an SIL consultant team in Africa, consisting of American Barbara Trudell and Ugandans Prossy Nannyombi and Lydia Teera [shown below interviewing teachers]. With decades of experience in providing practical solutions to language and learning challenges, the SIL consultants were well positioned to help.
For 10 weeks, the team investigated the issues and challenges of providing education in two refugee settlements, where dozens of primary community schools are funded largely by NGOs. Trudell says the Ugandan government welcomes the refugees and wants to see them educated, but it simply can't deal with the great need alone.
Most refugee students are not reaching acceptable levels in reading comprehension or math. Students also struggle to adapt to Uganda's national education system and curriculum, including the languages of instruction in the classrooms. These are different from what they are used to in their home countries. As a result, many are dropping out of school.
The SIL team's observations confirmed reports from NGOs of the extremely challenging educational environment in the settlements. "Some classrooms were incredibly overcrowded [see photo at left], with up to 200 children in rooms built for much smaller class sizes," explains Trudell. "The children are eager to learn, but the sheer number of pupils makes it nearly impossible.
"In many classrooms, textbooks are in very short supply, Often, it is only the teacher who has a book."
Significantly, the team found that English and the Ugandan languages used to teach the nation's highly regarded curriculum simply aren't understood by the refugees. "The language mismatch in the classroom blocks effective student learning and puts classroom teachers in the position of having to manage what is essentially an unmanageable teaching scenario in the classroom," its report says. "Where neither textbooks nor teachers are available in a language the refugee learner understands, the acquisition and improvement of reading and writing skills is out of reach."
Trudell says parents of children at the refugee settlement schools, who were interviewed by the SIL team, were clearly frustrated. Said one whose child was doing poorly in school, "I asked my son why the bad results, and the child angrily said, 'The teacher uses a language that I don't understand in class. . . .' Parents here are wondering what the use of education is."
"That kind of frustration is purely about a failure to communicate," explains Trudell. "It wasn't that the teacher was bad. It wasn't that the child didn't like school."
The study found that stakeholders—support organizations, government oversight bodies, teachers and parents—all agreed that the children would benefit tremendously from being fluent in English and having higher literacy skills. They were keen to know if some sort of bridging program for the students could be the answer.
Taking that cue, the SIL consultant team recommended that a program be created to help refugee children span the language gap in their education and more successfully integrate into formal schools by:
building learners' literacy skills--in an African language that is commonly understood by as many students as possible--which can then transfer to any other language that students learn to speak
building English skills to a level that would allow learners to communicate fluently with their teachers and begin learning subject content in the classroom
providing a context in which math skills can be built and strengthened, and academic vocabulary in English built as well.
These classes would be held several hours each day, five days per week over six months.
The SIL team's recommendations were well received by stakeholders. If the recommendations are put into effect, SIL is well placed to implement them.
Ultimately, the bridging program—which Trudell thinks may have potential in other similar refugee school situations elsewhere—will help expand refugee children's possibilities for a better life, SIL's aim in all its work.
"The idea is that these kids will walk into a classroom where English is the language of instruction, and they will be able to function as well as Ugandan pupils do," explains Trudell. "It will also allow them to start moving with success into a 100% English language instructional environment, which in Uganda, is from Grade 4 on. So what we're looking at is access to secondary school. And from there, who knows?
"These students are determined, adds Trudell. "All you've got to do is give them the language tools and they will go far."
* An Education in Emergencies (EIE) Working Group in Uganda set up a language task team, which includes Save the Children, Norwegian Refugee Council, Windle Trust, and the United Nations Refugee Agency (UNHCR). EIE exists globally with more than 100 organizational and 800 individual members who are working together to ensure the right to education in emergencies and post-crisis reconstruction.
SIL is pleased that 2019 has been declared as International Year of Indigenous Languages (IYIL) by the United Nations. For us, every year is a year of languages. That's because researching, revitalizing and promoting the use of lesser-known languages is at the heart of who we are and what we have been doing for the past 85 years. This article is one in a series that explains SIL's work as it relates to key themes of IYIL.
SIL IYIL website
What is the "heart language" in multlingual communities?
IYIL site (UNESCO)
Language technology for all: expanding digital opportunities for under-resourced communities
One hundred years of partnership: SIL retraces its historic beginnings and the allies that made it all possible
Inclusive learning for a multilingual, mobile world
Dict & Lexicography
Lang Assessment
Lang Programs Mgt.
Lang Technology
L & C Documentation
L & C Learning
Glossaries Ling Terms
L & C Archives
Pike Center
About SIL Training
About SIL Publications
Contact SIL Publications
Terms of Use | Privacy Policy | External Links Disclaimer

redpajama_set_name: RedPajamaCommonCrawl


text:
"""
Copyright [2009-2018] EMBL-European Bioinformatics Institute
Licensed under the Apache License, Version 2.0 (the "License");
you may not use this file except in compliance with the License.
You may obtain a copy of the License at
http://www.apache.org/licenses/LICENSE-2.0
Unless required by applicable law or agreed to in writing, software
distributed under the License is distributed on an "AS IS" BASIS,
WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
See the License for the specific language governing permissions and
limitations under the License.
"""

import click

from rnacentral_pipeline.rnacentral import upi_ranges

from rnacentral_pipeline.databases.crs import parser as crs

from rnacentral_pipeline.rnacentral import pgloader

@click.command("upi-ranges")
@click.option("--db_url", envvar="PGDATABASE")
@click.option("--table-name", default="rna")
@click.argument("chunk_size", type=int)
@click.argument("output", default="-", type=click.File("w"))
def find_upi_ranges(chunk_size, output, db_url=None, table_name=None):
    """
    This will compute the ranges to use for our each xml file in the search
    export. We want to do several chunks at once as it is faster (but not too
    man), and we want to have as large a chunk as possible. If given an a
    table_name value it will use that table, otherwise it will use the rna
    table.
    """
    upi_ranges.to_file(db_url, table_name, chunk_size, output)

@click.command("crs")
@click.argument("filename", default="-", type=click.File("r"))
@click.argument("output", default="complete_features.csv", type=click.File("w"))
def crs_data(filename, output):
    """
    This will parse the CRS file to produce a series of sequence features for
    import. The features are different from normal sequence features because
    these are 'complete', they already have a URS/taxid assigned and can just
    be inserted directly into the database.
    """
    crs.from_file(filename, output)

@click.command("validate-pgloader")
@click.argument("filename", default="-", type=click.File("r"))
def validate_pgloader(filename):
    """
    Check if pgloader ran without errors. Pgloader doesn't seem to crash when it
    should so we use this to parse the output and determine if there were any
    issues when loading. This is safer then continuing.
    """
    if not pgloader.validate(filename):
        raise click.ClickException("Pgloader produced errors")

redpajama_set_name: RedPajamaGithub


text:
Raising the level of analysis of food-borne outbreaks: food-sharing networks in rural coastal Ecuador.
We surveyed 2129 individuals aged 13 years and older in 2003-2004, within a representative (block-randomized) sample of 21 rural villages in Esmeraldas province, northern coastal Ecuador. We calculated degree (number of social contacts) for a social network defined by sharing food.
Consuming contaminated food is a well-documented individual-level risk factor for diarrheal disease. The sharing of food also influences the distribution of diarrheal disease risk through a community and region. Understanding this social process at a population level is therefore an important dimension of risk not captured by standard individual-level analyses. We examined social networks related to food-sharing in rural villages at 2 scales: within a village, examining whether connections within these networks clustered or were uniformly spread; and among villages, looking at whether food-sharing networks differed according to the village's remoteness from a population center.
Food-sharing practices link particular households in rural villages and have implications for the spread of food-borne pathogens. The food-sharing networks in remote rural villages are heterogeneous and clustered, consistent with contemporary theories about disease transmitters. Network-based measures may offer tools for predicting patterns of disease outbreaks, as well as guidance for interventions.
Networks of households sharing food differ according to remoteness from a metropolitan center. On average, residents living in "far villages" had 2 more social contacts than those in "close villages," and 12 more years of residence in their village. Estimates of transmissibility (a measure of outbreak potential) based on network structure varied as much as 2-fold across these villages.
Trostle JA, Hubbard A, Scott J, Cevallos W, Bates SJ, Eisenberg JN. (2008). Raising the level of analysis of food-borne outbreaks: food-sharing networks in rural coastal Ecuador. Epidemiology (Cambridge, Mass.), 19(3)


If the name PS I Love You sounds familiar, it's because they were one of my list of 10 Must See Bands at this year's CMJ Music Marathon that blew through the city in late October and the Kingston, Ontario duo deserve it and every bit of praise they've received during their infancy.
Their live show is the perfect complement to their debut LP Meet Me At Muster Station (Paper Bag) that fires out of the gate with a relentless energy akin to a 10 round fight that ends in a split decision. Each track ushers in a new round full of hope that throws a flurry of punches landing knockdowns with standouts like "Breadends" and "Facelove". By the end of the record you're beaten, but not beat. As the needle grinds through the final song, part two of the title track, PS I Love You leaves you wanting another chance to get in the ring and throw down with the boys.
We caught up with Paul Saunier (vocals / guitar) a day before the band returns to New York to play shows at The Rock Shop on December 3 and Pianos on December 4. Both shows will feature Tallahassee, FL's latest export Holiday Shores in support.
What is the one person, place or thing you would hate to miss on a trip to NYC? We love staying with our friends in Williamsburg. They have a wicked apartment and the neighborhood rules. They live really close to amazing pizza.
You've played a number of NYC venues over the last few months. What was your most memorable experience? I really love Glasslands. That place has good vibes for us. We played there once when we were pretty unknown and then again recently at CMJ we played to a packed house. It was a really big deal for us to play to so many new fans.
It's 4:00am and last call has come and gone, what's next?Are there any speakeasies, late night eats or after party spots you frequent? Usually I just grab some pizza and street beers. I've never been invited to any cool speakeasies. Please let me know next time you're going somewhere.
If you called NYC home, what would be your local watering hole? Why? I like drinking at the Rabbit Hole in Greenwich Village. It's dark, small and has an insanely massive beer menu. They also play all my favourite punk and new wave music all night.
The courting process is on and a major player is taking you to dinner on the AMEX Black card; where are you eating? What menu item is not to be missed? I would have to do some research into what the nicest vegetarian restaurants are and choose one. I'm afraid I don't know too many excellent places to eat in New York yet because when I'm there I usually live on pizza and cans of beer in paper bags.
It's the holiday season and you've got some gifts to purchase. Where's your favorite place to shop in the city? I like all the little antique/junk shops in Brooklyn. Also, dudes selling records on the street… like better records than what's available in the lovely record stores in my hometown… on the street for cheap. It's mind blowing. I think my friends like junk and records.
Good or bad, have you ever had what you would describe as a quintessential New York moment? I totally saw a cab driver cut off a female pedestrian and then she slammed her hands on the hood as hard as she could and yelled about how she was "walking here!!!" She may have also been a tourist. I don't know, that may be a touristy thing to do.
NYC has all sorts of tourist attractions Central Park, the Empire State Building and the Statue of Liberty to name a few. What's the most touristy thing you've done here? I went to Times Square and ate some deep fried Oreos. Later I got sick walking through Central Park.
Finish this sentence: New York City is the sweetest place on earth because… It's the only place on earth. Therefore it has to be the sweetest, right?


You know when you have every intention of seeing a hot new show with its original cast, and for some reason life keeps getting in the way? And next thing you know either the cast has changed or the show is closed? I call them "pass-me-bys," and my top three are: I Am My Own Wife with Jefferson Mays, My One and Only starring Tommy Tune and Twiggy, and They're Playing Our Song starring Robert Klein and Lucie Arnaz. I was stuck in LA for the entire run of I Am My Own Wife. I was in a giant feud with the press agent for My One and Only, Judy Jacksina, and by the time we mended fences the show had shuttered. But how I missed They're Playing I Song, I'll never know. I am sure it had something to do with the fact that I didn't discover psychedelic mushrooms until June of 1978 and the next three-and-a-half years of my life were akin to living inside a Saturday morning cartoon, but terrifying.
Well, the theater gods have smiled upon me and offered me a chance to right this horrible wrong. On Monday night, exactly 40 years to the day after its Broadway opening, the Actors Fund will hold a reunion concert version of They're Playing Our Song featuring its original stars! As for me, I ain't eating so much as a portabella between now and Monday – I'm not taking any chances!
Also on board for this one-nighter? Original costumer Ann Roth, who I hear has taken the iconic red fringed dress and given it a 21st century make-over. I can't wait to see what she's whipped up! I hear it's dazzling.
Also no longer here to cheer: Lucille Ball, who played proud mama back in 1979 in a sparkly red jumpsuit. As legend has it, she agreed to take just one photo backstage after the opening night performance, and only in profile, as she gave her triumphant daughter a kiss on her cheek. This night belonged to Lucie, and nothing was going pull focus – not even the most famous television star of all time in a sparkly red jumpsuit.
The show, of course, is based on the real-life love story between its songwriting team, Hamlisch and Sager. Well, that original run led to the blossoming of another real life love story. While Lucie Arnaz was bringing down the house over at the Imperial Theatre, a handsome young actor named Laurence Luckinbill was at the Eugene O'Neill starring in the play Chapter Two, also by Neil Simon. Well, Simon star met Simon star, and next year Lucie and Laurence will celebrate 40 years of marriage. That's a long run, even by Neil Simon standards.
Caught Jo Anne Worley jumping up-and-down and screaming in the fifth row of LA's Pantages Theatre during Betty Buckley's final bow in Hello, Dolly!


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text:
Watch Robert De Niro and Stephen King explain the Mueller report
Robert De Niro is part of a new, celebrity-filled NowThis video about the Mueller report.
(Angela Weiss / AFP/Getty Images)
By Christi Carras
Hollywood is coming for President Trump once again.
In a new video from NowThis, Robert De Niro, Stephen King, Martin Sheen, Laurence Fishburne and more stars tag-teamed to explain former special counsel Robert S. Mueller III's investigation into whether Trump obstructed justice during the 2016 presidential campaign.
The video, released Thursday, features its famous participants highlighting various findings from Mueller's report, including allegations that his campaign had more than 200 contacts with Russian operatives and that his manager met with Russian agents in order to secure the presidency.
"In 2016, the Russian government attacked our democracy," De Niro says, launching the conversation, followed by comments from Sheen, Fishburne, King and more.
"They interfered in the presidential election in sweeping and systematic fashion," Sheen continues.
Exclusive: De Niro, @robreiner, @SophiaBush, @StephenKing, @jvn, and more are cutting through the Trump administration's lies about the Mueller report pic.twitter.com/VpJhIGBbv0
— NowThis (@nowthisnews) June 20, 2019
As the clip dives deeper into the contents of the investigation, other stars join in, including Rob Reiner, Rosie Perez, George Takei, "Queer Eye" groomer Jonathan Van Ness and "Chicago P.D." alumna Sophia Bush.
"Let me say that again," Perez says. "Trump's campaign manager shared Trump's election strategy with Russia."
The video also shows older clips of Trump dismissing Mueller's investigation by claiming his report proved "total exoneration," "complete vindication" and "no collusion." But the celebrities aren't convinced.
"Donald Trump, if you are listening, on behalf of the American people, we will hold you accountable," they say in tandem. "Because no one, not even the president of the United States, is above the law."


The starlets on the red carpet Sunday night proved one thing: fairy-tale romance is definitely in. Muted shades of pale pink and off-white, Cinderella-like pouf skirts, and acres of lace dominated the Academy Awards. And while the influence of the red carpet has a major impact on the soon-to-follow prom and wedding seasons, the overall themes spill over into decorating, as well.
To capture this year's Oscar glamour, think soft, pale fabrics for spring bedding, curtains, throws, and pillows. Add touches of lace, florals, and metallics, and keep one word in mind: vintage. The biggest stars exemplified old-school Hollywood chic with their hair, makeup, and dress selections – many of them vintage couture. Make the local antique shop your new favorite destination and look for items that shout "Old Hollywood" – ornate, curvy items from the Art Deco style of the 1930s.
Spring is all about flowers, birds, and sunshine. Animals in general are popular in decorating right now, but birds are especially trendy for spring – think peacock feathers in a vase or bird feathers as a pattern on a pillow or on drapes. Add decorative bird houses, small bird statues, and even paintings of birds. Mix in some floral prints and when selecting colors, think nature – greens, yellows, and earthy browns and golds. Pantone's colors for spring 2013 include emerald, jade, dusky blue, and lemon zest. Find a color that you like and add just a touch to your apartment to freshen it up for spring.
Men can also borrow red carpet trends for their apartments. The bolder shades of coral, deep red, and vivid blue also turned up at the Academy Awards – perfect shades for men to work with when adding a few seasonal touches to their apartment. A bold red chair, blue curtains, and striped fabrics will liven up your space. Checked patterns are also in for spring, so consider this pattern for a couch slipcover, your spring bedding, or even for curtains.
For lighting, consider adding an ornate chandelier, 60s-style retro lamps, a classic candelabra, or a Neoclassical sconce. No matter what lighting you choose, remember that energy efficiency is also a top priority. Choose LED or CFL bulbs for your trendy new lamps.
Of course, there are some red carpet looks you might prefer to forget, and some spring trends that are downright scary (Bermuda shorts, for example, are back in style). The red carpet trend of strapless gowns is also somewhat alarming and there was an appalling amount of tulle on Sunday night. But when the stars are interviewed and photographed on the red carpet, they are a foretelling of what is on the horizon for fashion and decorating. Whether you take a little from the evening or a lot, you can enjoy some red carpet glamour in your apartment this spring.


Nothing will be black and white today as problems and situations will be dense and multi-faceted. But this frustrating day can be overcome by treating yourself to uncomplicated pleasures. Kicking back with a bag of oreo cookies and a big glass of milk will restore balance to this topsy-turvy day.


If you would like any further information regarding the new framework please do not hesitate to contact a member of the team at solutions@consortiumprocurement.org.uk.
We are well underway with refreshing our Electronic Payment Services framework. Based on our findings from engagement with members and the market, we aim to have our solution in place in June 2019.
We use Delta e-Sourcing portal to formally advertise our tender and interact with suppliers. We will place notice of tender opportunities here for information only. Provided in the detail of the opportunity will be guidance on making a formal submission. Tender submissions made directly via the website will not be accepted.


text:
Q: Git log - find last use of function Is there an easy way to find out at what commit a certain function stopped being used? There have been too many times I find a function that I thought I was using, but nothing seems to be calling it, which leaves me wondering when and why I did this.

A: git log -S
From git log --help:

-S<string>
Look for differences that change the number of occurrences of the specified string (i.e. addition/deletion) in a file. Intended for the scripter's use.
It is useful when you're looking for an exact block of code (like a struct), and want to know the history of that block since it first came into being: use the feature iteratively to feed the interesting block in the preimage back into
             -S, and keep going until you get the very first version of the block.

git log --patch | git log -p
This shows the diff patch for each commit. The + at the start of lines, highlighted green, are lines that were added. The - at the start of lines, highlighted red, are lines that were removed.
Example: Combined Together:
Let's say I want to know the last time I used the python function subprocess.call(). We can search for the string subprocess\.call\( as the argument for the -S diff option like so:
git log -Ssubprocess\.call\( --patch

This use of git log will show the log for each commit that has the text change that you specified, and show the diff patches for each of those commits.
Bonus:
If I want to know how I used a function that no longer has anything calling it, I would simply:
text=subprocess\.call\(
git log --patch -S$text | grep -m 10 "$text"

or if I want to know the last time it was specifically removed:
text=subprocess\.call\(
git log --patch -S$text | grep -m 1 "^-.*$text"

redpajama_set_name: RedPajamaStackExchange


Matthew Cornford and David Cross have worked together since meeting at St Martins School of Art in 1987. Since that time they have created a unique body of work made both in the public realm and for galleries. In the main, their way of working has been to respond to a particular context or situation, by examining the problems that arise out of it. Accordingly, each of their projects has been radically different, not only in form but in function. Equally, the artists have not worked in a single media, but produced sculpture and installations, worked with video and photography, and created one-off events and sound works. This exhibition brings together the artists' full range of works for the first time, alongside profiling their unrealised projects. The latter take the form of invited or speculative proposals for particular sites.
One particular focus for the artists has been creating site-specific and commissioned projects for public spaces. Where is the Work? is the culmination of the artists' architectural and sculptural interventions in the public realm. Often, these have been provocative, testing the limits of what shape artworks can take and how they contribute to our quality of life. As almost all these projects have been deliberately temporary, the artists' intention prior to undertaking each has been that they would be experienced primarily - and indeed located in - their photographic legacy. Accordingly, the newly commissioned large-scale photographs here, and the accompanying texts, reveal the variety of the artists' practice, and the story of each work. This is the first of three distinct exhibitions staged at NGCA and Aspex Gallery, Portsmouth, and Newlyn Art Gallery, Penzance.
"We have been working jointly since 1987 when we met as students at St Martins School of Art in London. We don't have a set method or approach to our work; instead we tend to wander about, until we hit upon an idea. Although we are in constant dialogue, most of this is unrecorded and leads to no measurable result.
"The form of a project may develop, but we keep intact its core proposition, which exists most clearly in language. For each project, we write and often re-write a text. If a proposal is approved, then the text serves as the basis of an agreement or contract of sorts. If a project remains unrealised, then the proposal stands. Throughout, the texts 'anchor' some of the possible meanings contained within a work, as well as 'relay' meanings from the surrounding context. This method of counter-pointing different aspects of a situation partly reflects our own differences in opinion.
"We don't work in a studio and this has had an important influence on our practice. To begin with, we took it upon ourselves to find opportunities to make and show work, and became interested in going out and looking more closely at particular environments. At first, because our early installations were grounded in one place, we thought they were 'site-specific'. But as each project developed through a series of encounters, actions and debates, we found ourselves responding not just to physical sites, but also to social situations and historical moments.
"Because most of our works have been temporary, and made in specific locations, more people encounter them through reproduction than through first hand experience. So photography is central to our practice - we plan our projects in terms of their photographic possibilities, document the work in progress, and stage summarising shots of each completed work. Although we wouldn't describe our photographs simply as 'documents', we do trade with the notion of an indexical relationship between the image and lived experience.
"Our interventions are often disruptive to everyday life, so realising them calls for close interaction with the organisations and people who occupy places and influence events. We are often in need of expert help and advice, and have worked with many highly skilled people from disciplines including architecture, aviation, filmmaking, software engineering, and town planning. Every art project we have carried out has encountered obstacles, which were only overcome with the flexibility shown by people prepared to take risks, go beyond conventional interpretations of their roles, and become active participants."
She, 2004. Proposal for an eternal flame, running on fossil fuel to be installed next to the the Maiwand Lion statue, Forbury Gardens, Reading, Berkshire. Commissioned by Art at the Centre.
Where is the Work?, 2004. Fabrication of iron grille, Whitton Castings, Charlton, London. Commissioned by the Contemporary Art Society Special Collection Scheme with funds from the Arts Council Lottery. This work is permanently placed in the South London Gallery.
New Holland, 1997. Structural steel, steel cladding and sound system. Installed outside the Sainsbury Centre for Visual Arts, University of East Anglia, Norfolk For EAST International, Norwich Gallery.
Part funded by Norwich School of Art and Design, first shown at Norwich Gallery, Nov - Dec 2000. Childhood's End uses a highly skilled pilot and an expensive fighter jet to draw a political statement in the sky.
Utopia,1999. Renovated ornamental pond, food colouring, fountains. Exhibition: In the Midst of Things, curated by Nigel Prince and Gavin Wade. Bournville, Birmingham.


text:
`os` is an abstraction layer to access in different way the Operating
System graphics interface. It offers a way to create windows and
handle mouse/keyboard input. The graphics are rendered using the
[Skia](https://skia.org/) library.

Minimum platforms:

* Windows Vista
* macOS 10.9


1) Using the (Tools > Add-ins) dialog box.
2) Copying the add-in to your xlstart directory.
3) Copying the add-in file to your "at startup, open all files in" folder location. Defined by (Tools > Options)(General tab).
4) Double clicking the add-in file or using the (File > Open) dialog box. You can also drag an add-in into a session temporarily to load it until you close that session. Any add-ins loaded using this method are not displayed in the (Tools > Add-ins) dialog box.
5) Using a Startup Switch.
Browse - Displays a dialog box allowing you to browse for an additional Excel add-in.
Automation - Displays another dialog box that lists all registered Automation servers available on the system.
If the add-in you want to install is already in the list then tick the corresponding check box.
Press "OK" to install this add-in.
Any changes made to the loaded add-ins are not saved until you actually close Excel completely.
If the add-in you want to install is not in the list then you will need to browse for it.
Press the "Browse" button to display he Browse dialog box.
Once you have found your Excel add-in (".xla" file) press "OK".
If you are browsing to an add-in that is not saved on your local C drive then you will see the following message as soon as you press OK asking if you want to save a copy of this add-in locally.
You should always select "No" to prevent saving multiple copies of the same add-in.
Press NO and then your add-in will then be added to the list (in alphabetical order).
Make sure that the check box is ticked and then press "OK".
It is possible to open an Excel add-in using the (File > Open) dialog box or by just double clicking on the file in Windows Explorer.
This will open the add-in as a regular workbook however you will not see the workbook because all the worksheets are hidden.
The add-in however is not installed and willl not load the next time you open Excel.
If you double click an add-in (in Windows Explorer) or open it through the (File > Open) dialog box, the add-in is loaded but is not properly installed. The add-in will not be available the next time you open Excel.
Be aware that the more add-ins you have installed the more memory is needed and the longer Excel will take to open. It is worth uninstalling any add-ins that you do not use.
It is also possible to always load an Excel add-in without using the (Tools > Add-ins) dialog box. Add the following to the Excel application switch path, e.g. /LS:\Personal\Excel\Automation\Useful.xla (note no speech marks).
If you saved your add-in in a folder that is different to the default "Add-ins" folder then you will be prompted with a message asking you if you want to make a copy of the add-in and save it in the default add-ins folder. This is only applicable to Excel 97.


During the early 18th Century, more than one third of the UK labour force worked in agriculture. British farmers were able to produce enough food to feed the whole population, and there was even surplus grain for exports.
However, the repeal of the Corn Laws in 1846, and the effects this had during the First World War, had a massive impact on British farming and taught us valuable lessons for WW2.
Ministry of Food Ration Book, 1918. Manchester Archives GB127.M138/2481.
The Corn Laws were first introduced in Britain in 1815, when the landowners, who dominated Parliament, sought to protect their profits by imposing tariffs on cheap foreign imports of grain. This resulted in the artificial inflation of bread prices and meant that many British people struggled to afford this staple food item.
The government faced fierce opposition in the form of the Anti- Corn Law League who campaigned to have the Corn Law abolished. However, it wasn't until the devastating potato blight hit Europe in the 1840s that the Prime Minister, Sir Robert Peel, began to question the rationality of the Corn Law.
Broadside celebrating the Repeal of the Corn Laws, 3 Aug 1846. Manchester Archives GB127.Broadsides/F1846.3.
In January 1846 a new Corn Law was passed that reduced the duty on imported oats, barley and wheat. Imports began to rise rapidly and Britain became more and more dependent on foreign deliveries of food, and, in particular, cereals.
Many men from the farming industry were leaving to join the armed services leaving the country in even shorter supply of agricultural workers. In addition, severe weather in 1916 led to a poor wheat harvest and the failure of potato crops in Scotland and parts of England.
The situation became even worse as supply routes became either completely cut off or increasingly treacherous. Merchant ships became targeted by German U-boats from 1916. By 1917 Germany declared unrestricted warfare and sank one in four merchant ships in the Atlantic.
When David Lloyd George took over as Prime Minister in December 1916 he committed to dealing with the 'food problem'.
Bills were passed under the Defence of the Realm Act (DORA) to prevent food wastage and the price of foods such as milk and bread were fixed by the government. Compulsory rationing was also introduced, and citizens were encouraged to cut down on wheat usage and instead use alternatives such as potatoes.
Ministry of Food Leaflet, 1918, encouraging the use of potatoes as a substitue for bread and flour. Manchester Archives GB124.Q330.
The government were also able to seize control of any unused land for the use of farming under DORA. However, replacing lost labour proved more difficult as many of the men working on farms had enlisted. With two million acres of agricultural production needed, the government began a campaign to recruit as many female hands as possible. Thousands of women picked up ploughs, hoes and milk pails and joined the Women's Land Army.
Thanks to the work of British farmers and growers the country avoided being starved into surrender. The First World War changed the face of British farming and food production forever. The lessons learned by farmers, growers, policy makers and society continue to influence the decision making process in the 21st century.


what will cost to start crusherplant project?
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The Project will produce 5.15 Billion units of electricity annually. M/s CGGC-CMEC Consortium China for implementation of the project at a cost of Rs. including construction of Contractor'.s camps aggregate crushing . batching plant, site.
The process design criteria define the project'.s production requirements, and typically . crushing plant costs can be as high as $18 million. Designers of new plants must be aware of ways of making a plant simple and economical to run.
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EIA Guidelines for Proposed Stone Crushing Plants .. up options, the biophysical, economic and social costs and benefits throughout the whole life cycle of the proposal should be considered. Extent of land area covered v/s open space.
Mining Mirror November 2013 - Harnessing sun power - CRONIMET .
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Exxaro's Grootegeluk Medupi Expansion Project breaks ground in .
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project concept development, start-up, production, marketing, finance and business management. The proposed project envisages setting up of a Stone Crushing Plant. The . The total proposed project cost is Rs 2.2 million with a total capital cost of Rs . Initially, the plant will operate on 70% of capacity, crushing. 420 cu.
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report is for mini flour mill i.e. 30 tonnes of raw material crushing capacity per day. As per CII . It is presumed that the unit will run three shift per day and 300 working days per annum. 2. There are no pollution problems for unit except dust which may damage the plant and . Total cost of Land . Building Rs. 20,50,000/-. 2.
Comments: The government is evaluating the cost of the project. The first phase of the manufacturing plant will produce potassium chloride and the second . Ltd. The $130-million crushing plant will begin operation for the 2009 crop year.
crushing plant start-up at gold resource corporation's el aguila .
2 Nov 2009 . As the crushing plant becomes fully operational we will stockpile . of gold and silver projects that feature low operating costs and produce.
Golden Queen Mining Co. Ltd. - News - Golden Queen Provides A .
27 Mar 2014 . Costs incurred on construction of the Project since July 2013 to date .The time between the feasibility study and the start of construction . for the crushing-screening plant as a turn-key project with numerous . Crushed and agglomerated ore will be conveyed to the heap and stacked with a radial stacker.
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In large laboratories the cost per sample will run somewhat lower.. Where the pebbles run into larger sizes a crushing plant is also usually installed to reduce.
The majority of the cost increase can be attributed to additional costs . At the plant site, interior steel, mechanical installation and the tailings and . The Red Chris project is in the development stage of an open pit mining and milling operation . Coarse rejects from the SAG mill would be crushed in a 600kW pebble crusher.
The project objective is to set a stone crushing plant in the surrounding of Manshera. the project will be capable of producing 30,000 C.ft. of crushed stone at . There is sufficient skilled labor available at less cost to run the project.
The plant will create employment opportunities for 71 persons. Quarrying, crushing and transportation of limestone, sandstone and clay is . The break-even point of the project including cost of finance when it starts to operates at full.
1 May 2012 . Construction of plant and associated facilities, which . transportation, crushing and milling, treatment, . form part of the total cost of the mining project will be the key .. In our experience, many entities distinguish start-up/.
20 Aug 2014 . Project Cost Of Stone Crushing Plant - Protable Plant . cost to start a stone crusher in india.p.set . what will cost to start crusherplant project.
Weatherly International'.s Tschudi Copper project is located in Namibia, home . Tschudi will be a low-cost open-pit mine extracting oxidised copper ore to be . engaged to design and build a crushing, agglomeration and stacking plant at the.
Project Profile on the Establishment of a Plant Producing Fertilizer .
by the project is estimated at about Birr 34.1 million of the cost of machinery and . percent or 23 thousand to 27 thousand tons of this quantity to one or two bone crushing . The plant can start operation at 50 % of its capacity in the first year.
The PFS estimated the project cost at $1.7bn while according to the scoping study . the run-of-mine (ROM) ore will be sent to a primary crusher that will be located at . plant will produce approximately 15Mt of magnetite concentrate annually.
At 6,000 MW, the dam will be the largest hydroelectric power plant in Africa when . 1 Background. 2 Design. 3 Cost and financing. 4 Construction. 5 Benefits . On 31 March 2011, a day after the project was made public, a US$4.8 billion . A rock crushing plant has been constructed along with a small air strip for fast.