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The most common approach is simply to compare bodybuilders before the steroid era to bodybuilders today: both the bodybuilders and steroid users had bodybuilders in their camps. And while the steroid use didn't occur as often, the bodybuilders were likely to use a higher dose of anabolic steroids, while the steroid users may have used a lower dose. While the steroid user may have also had anabolic-androgenic steroids for years, the bodybuilder would have to have used more hormones, probably at higher doses, than the steroid user, anabolic steroids lab test. The bodybuilders were also the first to use insulin, whereas today most individuals use insulin during their weight training, diet and supplementing sessions, anabolic steroids law uk. The other common method of comparing bodybuilders before the steroid era and those that are now is simply the bodybuilders' body fat percentage, but that still doesn't give a full picture. There was less body fat from the steroid users than from the bodybuilders in the late 1980s. During that year, the average steroids use was 6 percent of an individual's total lean body mass, anabolic steroids lab test. So bodybuilders during that year were more likely to have steroids in their regimen than bodybuilders today, steroid bodybuilders. The steroid user who is still active today is more likely to have been using steroids in the 80s than today. A comparison of pre- and post-diet steroids use would be easier if we could go back in time to the mid-80s to get a more accurate picture of a bodybuilder's steroid use during the time of that bodybuilder's success. Unfortunately, we can't. The period we have available as a comparison only spans roughly 1988-1991, with the majority of bodybuilders being from that era, anabolic steroids legal in australia. We can't take the steroids out of a bodybuilder's body during that time period. Rather, we have to use a combination of bodybuilder's age, weight, and training experience and compare them to their current physique, steroid bodybuilders. However, since training is one variable that the bodybuilder can influence, and since there are only a finite number of years that are in a bodybuilder's training schedule, we'll only use the training experience and weight of a given bodybuilder. The results can be used to compare how steroid use was different in those different eras, anabolic steroids law in canada. In contrast, comparing bodybuilders to bodybuilders today using body fat percentage as a comparison is similar but not nearly as useful.
In this study the NEJM provided anabolic steroids through testosterone Enanthate to a controlled group of healthy adult males at an amount of 600mg per week accompanied with a set workout program. While it is not known, when administered orally it may be a good idea to take into account the potential abuse potential so that you have a plan in force to limit usage. It is also important to note that this study did not look at how much testosterone Enanthate can increase the muscle mass gain over time. To date, all the studies have shown that the body mass gains are usually at the expense of muscle strength (i.e. the loss of lean mass) to an extent. While it may seem counter-intuitive to take anabolic steroids after doing a traditional workout program, this study did find that it increased the amount of muscle mass gained. The authors stated that, "In general, the observed increase in lean body mass and strength was associated with the increased body mass". To further the point, that the average male adult with an adult age of 26 years may have some muscle mass and strength in comparison to another male with the same age. It may be a good idea to keep this number of muscle mass increases in perspective to ensure a proper diet. In this study, the average body mass per male that received Enanthate between 6 months of age and 3 years of age was 65.5 kg (150 lbs) at 3 years and 70 kg (154 lbs) at 6 months of age. This is a large difference. It is not entirely unusual to see a male grow up to about 110-120 kg (220 lbs). In this study the average body mass was a little lower in the male that received Enanthate. The mean age was 26 (6 months), and the average body mass was 61.8 kg (151 lbs) at 3 years. In the males that received Enanthate from 6 months of age and 3 years of age, the mean age at 3 years was 26 and the mean body mass was 53.8kg (131 lbs). The above two studies show that it is not uncommon to see males grow up to about 110-120 kg (220 lbs). This is approximately 3-4 months of weight gain in the typical 12-week program for males that take anabolic steroids. If the average daily dose of 300mg of Enanthate in this study would be taken over a period of 12 weeks, the average male would grow 3-4 times their bodyweight during this time period. The amount of muscle mass growth is also remarkable. There is currently no approved method to increase the number of muscle fibers. However, there are many body Related Article:
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IndustryFacebook Reports $1.46 Billion in Q1 2013 Revenue
Facebook Reports $1.46 Billion in Q1 2013 Revenue
Facebook's ad products delivered $1.25 billion, or 85 percent, of total revenue during the quarter while payments carried the remainder, lifting the company's net income to $219 million. Total advertising revenue grew 43 percent year-over-year.
Matt Kapko
Date published May 2, 2013 Categories
Advertising revenue from mobile devices comprised 30 percent of Facebook's total ad revenue in the Q1 2013, up from virtually nil one year ago. Monthly active use on mobile devices climbed to 751 million, marking a 54 percent increase from the year-ago period, as Facebook's total monthly active user base grew to 1.11 billion.
Facebook's ad products delivered $1.25 billion, or 85 percent, of the $1.46 billion it generated in revenue during the quarter while payments carried the remainder, lifting the company's net income to $219 million. Total advertising revenue grew 43 percent year-over-year.
Facebook's CFO David Ebersman said the growth in ad revenue was driven by the strong performance of news feed ads. "Ad impressions were up 39 percent and average price per ad was up 3 percent compared to last year," he adds.
COO Sheryl Sandberg also highlighted the success of Facebook's mobile app install ad product.
"During the quarter, 3,800 developers used these ads to drive nearly 25 million downloads. Of the top 100 grossing apps from the iOS and Android in the last week of Q1, about 40 percent of them used our mobile app install ads," she says. "In gaming, travel, e-commerce, and the financial service industry, the early indicators are that our cost per install are highly competitive."
Indeed, mobile has quickly become the growth engine for Facebook as desktop ad revenue remained flat.
"I think we're still in the really early days of what we're doing and that's particularly true in mobile," Ebersman adds. "We have an ad format that works on mobile and we have identity so that we can put the right ads in front of the right people…The big opportunity that's right in front of us is trying to make the mobile advertising products higher quality and more relevant over time."
Facebook's custom audience tool is also gaining traction with more than twice as many marketers using the feature from the previous quarter, including brands such as Hotels.com, Intuit, and Virgin America.
"Facebook is finding some success on mobile because its ad strategy does not focus just on big brands. A focus on big brands is why Apple has failed at mobile advertising," notes Krishna Subramanian, CMO of Velti, a mobile marketing and ad technology provider.
"Mobile installs are absolutely through the roof. These installs have made Facebook one of the biggest mobile ad suppliers in the world and are really what's driving mobile revenue," Subramanian adds. "Cross-platform targeting remains the single biggest prize for Facebook's mobile revenue. Facebook's precise user profiles, combined with targeting users across devices and off Facebook, will be an absolute gold mine when they figure it out."
One area where Facebook suffered this quarter was average revenue per user. Facebook reported that it made 14 cents less in advertising revenue per user in this quarter compared to the last.
Facebook's costs are also skyrocketing as it maneuvers to increase the frequency with which users visit the site, the length of those visits, and the overall number of users it reaches on a daily or monthly basis. Overall, the company's costs jumped 60 percent year-over-year to $1.08 billion.
Wall Street's immediate reaction to Facebook's latest quarter was relatively calm. Company stock remained flat in after-hours trading as Facebook narrowly beat the market's expectations for the quarter.
This article was originally published on ClickZ.
Average Revenue Per User
David Ebersman
Krishna Subramanian

redpajama_set_name: RedPajamaCommonCrawl


"Last month's feature, 'Strategies for Managing Growing Networks,' presented the general principles of dynamic routing, described internal and external routing protocols such as OSPF, RIP, and BGP, and explained how dynamic routing can be used build extensible and flexible networks that respond quickly and automatically to changes in network topology and traffic. Of course, protocols are useless without hardware and software to animate them. Routers from Cisco, Juniper, and other vendors can fit the bill. But there is an alternative to commercial products. Enter PC hardware, the Linux operating system, and GNU Zebra, an open source project that turns a run-of-the-mill Linux machine into a capable--and interoperable--network router. This month, let's run with the Zebra--and give Cisco a run for its money..."


text:
Articles Online First
AJOG Citation Classics
AJOG Eponyms
Focus on Intrauterine Devices
Giants in Obstetrics and Gynecology
MOC Part II
Reports of Major Impact
SMFM Supplements
Permission to Reuse Published Material
Affiliated Societies and Meeting Papers
Editors and Editorial Board
In Our Third Century
Inappropriate Acts
SMFM Documents
SMFM Documents by Year
SMFM Documents by Subject
Society Info
Affiliates and Papers
AGOS Talks
Surgeon's Corner
Editorial| Volume 199, ISSUE 1, P1-2, July 01, 2008
Clinical outcomes in VBAC attempts: what to say to patients?
George A. Macones, MD
George A. Macones
Department of Obstetrics and Gynecology, Washington University in St. Louis, School of Medicine, St. Louis, MO.
DOI:https://doi.org/10.1016/j.ajog.2008.03.040
Previous ArticleInformation for Authors
Next ArticleCervical neoplasia in pregnancy. Part 1: screening and management of preinvasive disease
The role of vaginal birth after cesarean delivery (VBAC) in modern obstetrics remains a major controversy. The most recent figures from the National Center for Health Statistics indicate a VBAC rate of 10% in 2004. The reason for the fall in VBAC had to do with concerns over safety and, perhaps, professional liability concerns. The question remains whether this fall in VBAC rate is in the best interests in the health of women. As has been shown in a number of studies, a VBAC attempt is associated with uterine rupture (roughly 0.5%-1.0%) and hypoxic ischemic encephalopathy (roughly 12/15,000). Concerns over these short-term maternal and neonatal risks must be considered in the context of longer term risks, such as the increase in abnormal placentation (eg, previa and accreta) with increasing number of previous cesarean deliveries.
See related article, page 30.


District and School Performance Scores (DPS and SPS) for 2016-17 released earlier this month by the state Department of Education show general improvements for St. Martin Parish schools.
Superintendent Dr. Lottie P. Beebe and Phyllis Landry, parish supervisor of elementary education, presented a detailed report on the extensive testing results to local school board members last week.
The parish's DPS held steady at "B" although there was a slight decline in the numerical score, from 89.3 to 88.5.
Results show that Parks Primary remained the parish's only "A" school while nine schools – Cecilia Primary, Teche Elementary, Parks Middle, Cecilia High, Breaux Bridge High, Early Learning Center, St. Martinville Primary and Breaux Bridge Jr. High – all raised the letter grades.
But five local schools – Breaux Bridge Primary and Elementary, Cecilia Jr. High, St. Martinville Sr. High and Stephensville – suffered a drop in letter grades.
The number of "B" schools in the parish increased from four to five, and the number of "C" schools from six to eight.
Last year five parish schools graded "D" but 2016-17 results show only two – Breaux Bridge Primary and Elementary – at that level.
Parish high schools showed improvement in strength of diplomas, ACT scores, end of course assessments, graduation rates and dropouts.


text:
Home Infrastructure Crossrail Christmas at Paddington
FeaturedInfrastructureRail NewsRail Projects
Crossrail Christmas at Paddington
Paul Darlington CEng FIET FIRSE
Crossrail in London is currently Europe's largest infrastructure project, running from Reading and Heathrow in the west, through 42km of new tunnels under London to Shenfield and Abbey Wood in the east. The line will consist of 10 new and 30 upgraded stations and will be known as the Elizabeth line when services in the tunnels begin in December 2018. It will be fully integrated with London's existing main line and underground rail network and will carry an estimated 200 million passengers per year, with up to 24 trains per hour in each direction, which may rise to 30 trains per hour later.
The new Bombardier Class 345 Elizabeth line trains will be the first trains in the UK capable of transitioning from a mainline signalling system to a high-capacity metro-type signalling system and then back again. In the tunnels, the trains will use communications-based train control (CBTC) and on the surface sections the trains will use conventional signalling, along with the additional overlay of European Train Control System (ETCS) Level 2 on the Heathrow Spur – the 8.6 kilometres of railway infrastructure linking Heathrow Airport to the Great Western main line (GWML). This will be extended all the way to Paddington by December 2019.
Christmas 2017 saw a key milestone achieved, with the signalling immediately to the west of Paddington upgraded to allow trains to connect to and from the existing GWML at line speed. This will help to improve reliability and connect the new Crossrail tunnels and the new depot to the GWML.
The signalling arrangements for Crossrail are complicated and were described in issue 135 (January 2016). CBTC is required to deliver the planned throughput of 24 trains per hour in each direction through the central section under London. This will consist of 110-second headways with 60 second dwell times at Paddington and Liverpool Street, with trains only 50 seconds apart.
Such intense throughput of trains can only be achieved using a moving block signalling system and it was determined that developing ETCS Level 3 in the timescales of Crossrail was too risky. CBTC was therefore chosen for the central section signalling, using the Siemens Trainguard mass transit system product as used in Beijing and Copenhagen. Radio access points will exchange data with the train-borne equipment using Wi-Fi technology rather than the GSM-R that is used in ERTMS.
Signalling west
Network Rail needed to deliver significant works both west and east of the new Crossrail tunnels to get trains in and out of the central section efficiently, and this forms a contractual agreement between Crossrail and Network Rail Infrastructure Limited in terms of delivering the throughput of trains.
The works included a major track layout reconfiguration at Heathrow Airport junction, to provide full grade separation of trains to/from the airport line, along with a dive-under at Acton and turnback facilities at Maidenhead.
Old Oak Common is the main Crossrail depot with 33 sidings, and this will have its own brand-new ElectroLogIXS signalling system provided by Atkins. This is a separate contract and workstream, but will be another first deployment and a complex interface which the Paddington programme has had to manage.
New Alstom Smartlock interlockings were introduced in 2011, between Paddington and Heathrow Airport junction, to replace the 13 previous SSIs (solid-state interlockings). These were provided with sufficient capacity to enable the significant layout changes required by both the Crossrail programme and future ETCS requirements.
At Westbourne Park, the transition between CBTC and ETCS will take place with trains moving at up to 50mph. ETCS level 2 will be provided on GWML as an overlay, so multiple aspect signalling will still be in place, enabling Crossrail trains to run on conventional signalling using AWS/TPWS as a fall-back should the ETCS system fail.
As well as being the most complicated stretch of the GWML and the need to interface to both CBTC and ETCS, signalling arrangements were further complicated as the existing interlocking systems in the Old Oak Common Paddington Approach area included a number of unconventional protection arrangements. These were provided, in the wake of the Ladbroke Grove accident in 1999, to minimise the risk of signals passed at danger still further.
The Western Region is also uniquely fitted with Automatic Train Protection (ATP) manufactured by ACEC of Charleroi Belgium, which enforces obedience to signals by helping control a train's speed profile.
In November 2016, new high-resolution IECC Scalable workstations were provided by Resonate at the Thames Valley signalling centre. The new screens provide greater flexibility to the signallers' displays as well as moving the control systems onto a modern hardware platform. The upgrade was also preparation for the introduction of the upcoming traffic management system trial, which will further help operate the railway during times of perturbation.
On Christmas Eve December 2017, the Network Rail Crossrail programme undertook what is believed to be the single largest and most complex data signalling upgrade in history. After an integrated programme of works with all disciplines staged over six years and three years of data rewriting, new signal interlocking data was uploaded for all of the 500 signal routes in the three-mile approach to London Paddington. The scope involved 13 equivalent SSI interlockings, with the complete replacement of five equivalent SSI interlockings with brand new data to modern standards, together with amending eight further equivalent SSI interlocking data sets.
It's all in the data
The data rewrite involved considerable preplanning, which commenced in the late summer of 2012, with people sitting down for the first time to think how they would complete the activity within the Crossrail programme requirements. 2014 saw the specification finalised with the methodology and timing in place, and work to actually rewrite the data began in the second half of 2015. There were complex parallel design stages required which all had to be planned to achieve the same timeframe.
The entire project had to lock down the operational layout of the railway two and half years out. It had to take into account significant track layout changes in order to connect the Crossrail tunnels onto the GWML and electrify all of Paddington station's platforms. The signalling in the Paddington area will have to interface to ETCS level 2, CBTC, ACEC ATP, TPWS and Atkins ElectroLogIXS, so it was essential that a documented solid data set foundation, which was fully understood, was in place.
A collaborative, united programme was vital and a scope alignment meeting was held every two weeks involving the key parties. These were Alstom for the conventional interlocking signalling, Atkins for the new signalling data, and Resonate for the control system data. This took place for over two years, ensuring all aspects of the programme remained in line, enabling best practise to be identified and shared openly, and allowing the project to speak with one voice. This scope-alignment process will be used for future projects of a similar nature.
Ricardo Rail has provided the validation and verification project safety assessment for the works undertaken so far, and over the next few months further safety assessments will be undertaken before all the technical interfaces between systems are brought fully into use. The interfaces have been tested and are available but disconnected. At the moment, signalling moves into the Crossrail depot and central sections have been disconnected, pending verification testing, and will not be brought fully into use until all the safety actions required by the assessors have been closed out.
GSM-R replaces Cab Secure Radio
GSM-R has been installed and commissioned in the Heathrow tunnels. A big project in its own right, and a task undertaken by ADComms, assisted for radio frequency design by its own new subsidiary AIB Wireless, this was successfully delivered in the same timescale as the Paddington upgrade. It will replace the last operational Cab Secure Radio system in the country, still in use between Paddington and Heathrow.
The Heathrow GSM-R installation has been designed from the outset to meet the capacity, coverage and availability requirements required for both ETCS and conventional voice operation. GSM-R propagation in the Heathrow tunnels is predominantly by new radiating cable (otherwise known as "leaky feeder"), but with antennas used at the tunnel portal and in the stations.
GSM-R coverage has also been provided in the emergency access shafts to the tunnels, so that communication is available to rail staff in the event of an emergency train evacuation. The Class 345s are equipped with a portable GSM-R handset in each cab for this purpose.
As GSM-R is essential for ETCS operation, the Heathrow tunnels installation has been designed to offer a high level of availability, with duplication of GSM-R base stations, fibre-fed repeaters used to 'boost' the signal along the tunnels and the optical master units which connect between the base stations and repeaters. This is so GSM-R will continue to operate even if there is failure of an item of active equipment.
GSM-R is also being upgraded between Paddington and Airport junction, with the replacement of six existing base stations to provide enhanced capacity and reliability for ETCS. This includes the addition of a new base station to the east of Ealing Broadway, providing an improved level of radio coverage for ETCS. A contract for this work has yet to be awarded.
Whilst the ETCS Level 2 operation will initially use circuit-switched data connectivity, the upgraded GSM-R trackside system will enable an easy migration to packet-switched data ETCS in the future.
A new smart-tracking tool was used for the first time, which provided an open and collaborative information stream between all the contractual parties involved in the signalling programme. This allowed shared access to real time progress reporting of all activities, with everyone – including all the different parties in the same organisation and all the organisations involved in the programme – having visibility of the same accurate information and a consistent messaging format to update one another.
Taking this step provided confidence that things were progressing as planned and, if they were not, it gave the opportunity to amend plans and resources for any sequential activity.
The final connection
In addition to these signalling works, Network Rail's Crossrail programme successfully completed the final connection between the national rail network and the Crossrail tunnels over the festive period, linking east and west for the first time.
More than 6,400 metres of new track has been installed in the Old Oak Common Paddington Approach (OOCPA) area, to connect the tunnels and the new Crossrail depot at Old Oak Common to the existing rail infrastructure.
The Network Rail and Carillion-led team installed the final piece of track near Westbourne on 17 December, connecting Brunel's historic Great Western main line to the new Crossrail tunnel system beneath London.
With all of the Crossrail track in place, the team worked round the clock over the Christmas blockade (146,000 hours across a 10-day period) to install more than 4.5km of complex wire runs between Old Oak Common and Paddington to electrify the new lines connecting to the Crossrail tunnels and the Crossrail depot to the network. This included the electrification of Paddington's Platform 2, the final platform to receive its OLE.
In addition, all of the platform extensions were completed, with the exception of Ealing Broadway's Platform 1, in preparation for the launch of TfL Rail services in May.
Fourway installed more than 100 cameras for the new Crossrail Driver-Only Operation (DOO) system in conjunction with stations contractor Vinci.
Piled foundations for the new passenger footbridge and station building at Acton Main Line and Hayes & Harlington were completed, and the final high voltage cable pull at Westbourne Park was undertaken. This completes the physical traction power works required to provide power from the Kensal Green feeder station to the Crossrail tunnels. This will be the secondary (back-up) feed for the tunnels.
The portal outside Paddington is the final of the three portals to be connected to the Crossrail tunnels and puts the project on track to meet Key Output 2 in June 2018, when all of the infrastructure between the three tunnel portals and surface railway at Plumstead, Pudding Mill Lane and Westbourne Park must be complete.
Passengers in the Thames Valley start using the connection in Dec 2019 and will be able to catch new Elizabeth line trains all the way through central London without having to change onto the Underground at Paddington, making it quicker and easier to get to a range of destinations across London and the South East.
Crossrail West milestones
Late 2012 – preplanning commences for December 2017 signalling data upgrade at Paddington.
Summer 2014 – Paddington data upgrade specification, programme and methodology in place.
September 2015 – work starts on rewriting data for Old Oak and Paddington areas.
December 2015 – commissioning of major upgrades and remodelling of Heathrow to Paddington.
Easter 2016 – commissioning of major upgrades at Maidenhead Station.
November 2016 – new high resolution IECC Scalable work stations provided by Resonate at the Thames Valley Signalling Centre.
December 2016 – commissioning of largest multidisciplinary railway upgrade across Reading to Paddington area and introduction of new ETCS system for the first time. This stage established the foundation and interlocking interfaces for December 2017 data changes.
April 2017 – ETCS train-protection signalling system operational between Paddington and Heathrow. Testing with Network Rail Class 313 ETCS fitted unit commenced.
June 2017 – first Elizabeth line train runs in service on the Liverpool Street to Shenfield route (Crossrail East).
December 2017 – commissioning of final stage of Crossrail West signalling, introducing brand new signalling data for the Old Oak and Paddington area.
January 2018 – first stage in enabling HS2 construction works.
May 2018 – Elizabeth line trains scheduled to commence between Paddington and Heathrow.
September 2018 – all Network Rail rail infrastructure for Crossrail complete.
December 2018 – passenger services commence from Paddington to Abbey Wood, using the central section tunnels.
December 2019 – Elizabeth line fully open for 24 trains per hour. Services commence to Maidenhead, Reading and through the tunnels to Shenfield.
This article was written by Paul Darlington.
Read more: London Bridge – The Final Countdown, Christmas 2017
Paul Darlington CEng FIET FIRSEhttp://therailengineer.com
Signalling and telecommunications, cyber security, level crossings
Paul Darlington joined British Rail as a trainee telecoms technician in September 1975. He became an instructor in telecommunications and moved to the telecoms project office in Birmingham, where he was involved in designing customer information systems and radio schemes. By the time of privatisation, he was a project engineer with BR Telecommunications Ltd, responsible for the implementation of telecommunication schemes included Merseyrail IECC resignalling.
With the inception of Railtrack, Paul moved to Manchester as the telecoms engineer for the North West. He was, for a time, the engineering manager responsible for coordinating all the multi-functional engineering disciplines in the North West Zone.
His next role was head of telecommunications for Network Rail in London, where the foundations for Network Rail Telecoms and the IP network now known as FTNx were put in place. He then moved back to Manchester as the signalling route asset manager for LNW North and led the control period 5 signalling renewals planning. He also continued as chair of the safety review panel for the national GSM-R programme.
After a 37-year career in the rail industry, Paul retired in October 2012 and, as well as writing for Rail Engineer, is the managing editor of IRSE News.
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Christmas at Redhill station – Rail Engineer 22nd February 2018	At	9:01 am
[…] Read more: Crossrail Christmas at Paddington […]


text:
Q: How can I connect to a sql/mp or sql/mx database on Nonstop using python.? I am trying to connect to a sql/mx database using python on OSS. However, it does not seem to be working. I would appreciate any solutions be it both to connect externally or from Python on OSS.

A: Use pyodbc,
#!/usr/bin/python3

import pyodbc
pyodbc.pooling = False

usr = "xxx"
pas = "xxx"
conn = pyodbc.connect('DRIVER={NonStop ODBC/MX 3.6};SERVER=TCP:127.0.0.1/18000;UID=%s;PWD=%s' % (usr,pas))

cursor = conn.cursor()

rows = cursor.execute("select * from cat.db.table for browse access")
for row in rows:
  print( row)
print (cursor.description)

Try above, it will work. I prefer implicit connection, explore if something below will work and let me knpw
conn = pyodbc.connect('TRUSTED_CONNECTION=YES;DRIVER={NonStop ODBC/MX 3.6};SERVER=TCP:127.0.0.1/18201;DATABASE=XYZ')

redpajama_set_name: RedPajamaStackExchange


text:
import * as gulp from 'gulp';
import * as browserSync from 'browser-sync';
import * as historyApiFallback from 'connect-history-api-fallback/lib';
import * as project from '../aurelia.json';
import build from './build';
import {CLIOptions} from 'aurelia-cli';

function onChange(path) {
  console.log(`File Changed: ${path}`);
}

function reload(done) {
  browserSync.reload();
  done();
}

let serve = gulp.series(
  build,
  done => {
    browserSync({
      online: false,
      open: false,
      port: 9000,
      logLevel: 'silent',
      server: {
        baseDir: ['.'],
        middleware: [historyApiFallback(), function(req, res, next) {
          res.setHeader('Access-Control-Allow-Origin', '*');
          next();
        }]
      }
    }, function (err, bs) {
      let urls = bs.options.get('urls').toJS();
      console.log(`Application Available At: ${urls.local}`);
      console.log(`BrowserSync Available At: ${urls.ui}`);
      done();
    });
  }
);

let refresh = gulp.series(
  build,
  reload
);

let watch = function() {
  gulp.watch(project.transpiler.source, refresh).on('change', onChange);
  gulp.watch(project.markupProcessor.source, refresh).on('change', onChange);
  gulp.watch(project.cssProcessor.source, refresh).on('change', onChange);

  //see if there are static files to be watched
  if (typeof project.build.copyFiles === 'object') {
    const files = Object.keys(project.build.copyFiles);
    gulp.watch(files, refresh).on('change', onChange);
  }
}

let run;

if (CLIOptions.hasFlag('watch')) {
  run = gulp.series(
    serve,
    watch
  );
} else {
  run = serve;
}

export default run;

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First Reserve Corporation, an energy industry-focused private equity and infrastructure firm, has backed Brazilian exploration and production company Barra Energia Petróleo e Gás with a $500m investment.
First Reserve is an independently owned firm since 1983. The firm has developed a global platform, having invested approximately $12.5 billion in equity. First Reserve has adopted the United Nations' Principles for Responsible Investment (PRI), becoming the first energy-related private equity firm, and one of a handful of private equity firms, to adopt the Principles. First Reserve has also been appointed to a member of the PRI's private equity steering committee.
Barra Energia Petróleo e Gás, headquartered in Rio de Janeiro, will pursue the acquisition, exploration and development of oil and gas assets in Brazil. Portfolio aims a balance between in land and sea basins in Brazil. Barra Energia is directed by João Carlos de Luca and Renato Tadeu Bertani, both former executives of Petrobras.
Recent estimates by Reuters predicts that Brazil-based private equity funds could raise up to $15bn from investors by mid-2011, driven by a growing economy and increased financial risk-taking.
This entry was posted in Brazil, Investment and tagged Barra Energia, Brazil, First Reserve Corporation, Gas, Petrobras, Petroleo, Private Equity, Rio de Janeiro. Bookmark the permalink.


A strong postsecondary education can be obtained in an affordable way, Mike Winsemann, transfer and technology manager for the B.C. Council on Admissions and Transfer, told the Georgia Straight.
He explained that in almost every region of British Columbia, there are local colleges where students can begin their postsecondary educations at roughly two-thirds to three-quarters the price of what they would pay at research-focused universities like Simon Fraser or UBC.
So for many, B.C.'s unique credit-transfer system provides a recipe for riding out the recession.
Unlike other provinces in Canada, B.C. has a highly coordinated system for transferring credits from colleges to universities, Winsemann said. He noted that if students visit www.bctransferguide.ca/, they will find more than 100,000 course-to-course transfer agreements already in place.
Jim Reed, president of B.C. Colleges, agreed that there is a "huge financial incentive" for students to begin their postsecondary careers at a college.
Reed recalled the recession of the early 1980s and a correlating spike in B.C. college enrollment, and he said that the same thing is happening today. He estimated that during the past year, enrollment in colleges is up 10 percent.
Both Winsemann and Reed noted that the process of transferring credits from one institution to another is, in most provinces, an arduous task. But in B.C., there is a long history of institutions working together to create transfer agreements.
Reed, however, said there is room for improvement in B.C.'s credit-transfer system.
In April 2007, a B.C. government report titled Campus 2020: Thinking Ahead included several recommendations for how to further improve credit-transfer processes in B.C. According to Reed, a lot of those suggestions have yet to be implemented.
"I think that any student that successfully completes a program of study in a college should be guaranteed a seat in another postsecondary institution," he said, echoing the report's suggestion that current credit-transfer programs be expanded.
Winsemann said that his office is always looking at ways to increase the amount of transfer information available and open new roads for students to move between postsecondary institutions.
He emphasized that the best way for students to take advantage of these options is to plan ahead.
"I would really encourage them to go to the B.C. Transfer Guide Web site before they register for [college] courses," Winsemann said, "just to make sure that the courses they are registering for do transfer.


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A friend shared Starbucks' response to the incident of racial bias that appeared in one of their stores. As he noted, their response is a model for an enlightened approach to inclusion. Their responses to the comments are as, if not more, instructive than the larger actions themselves.
Several interesting articles about the intersection of community and social media.
Also, several years ago, I interviewed a recent college graduate for a teaching position in the English Department, and he had written a critical analysis of a video game--he had close read it like a poem. Are video games a new form of narrative exposition--or narrative exploration? See the Edutopia article below.
Lastly, the feature article by Cal Newport, while it is somewhat cold and technical in its language, is extraordinarily important for complex work like teaching. Newport is an evangelist for monotasking, and this is a sharp application of that principle.
"No matter what worldview or way of knowing someone holds dear, they always believe that they are engaging in critical thinking when they're developing a sense of right and wrong... Much of what they conclude may be rooted in the way of knowing more than any specific source of information. That's true for all of us. If we're not careful, media literacy and critical thinking will simply be deployed in the classroom as an assertion of authority over epistemology. Right now, the conversation about fact-checking has already devolved to suggest that there is only one truth."
"What I mean by my above claim is that knowledge work management cannot stop at the boundary of the black box: providing workers only shared objectives and the tools/information needed to act on these objectives. It must also consider what occurs inside the box -- setting up cultures, workflows, and environments optimized to help the human brain act on these objectives with maximum effectiveness."
"We know students benefit from dedicated staff and faculty who care about their individual success. We know students benefit from timely and frequent interactions with advisors. We know students need help with goal setting, navigating our complex structures, and reflective practice. We know students come to us with backgrounds, experiences, goals, and identities that are unique to each student and need to be recognized, honored, and celebrated as such. And finally, we know students come to us confused about how their education relates to their future goals, dreams, passions, and career aspirations."
"In the course of creative endeavors, artists and scientists join fragments of knowledge into a new unity of understanding."
"It's important for all of us to address our biases. That's why we'll be making our education materials available to other companies, for use with their employees and leadership."
"Finishing rates varied significantly by gender. For men, the dropout rate was up almost 80 percent from 2017; for women, it was up only about 12 percent. Overall, 5 percent of men dropped out, versus just 3.8 percent of women. The trend was true at the elite level, too."
Two-Stage Exams: Take It Once Solo, Then A 2nd Time In A Group Univ. Brit. Col.
"Our research group has published the results of two studies on two-stage exams. One looks at student retention of content... And the second looks at student experiences."
"We found that personal microbiome analysis significantly enhanced the engagement and interest of students while completing the microbiome assignments, the self-reported time students spent researching the microbiome during the two week microbiome unit, and the attitudes of students regarding the course overall."
"The great memos are written and re-written, shared with colleagues who are asked to improve the work, set aside for a couple of days, and then edited again with a fresh mind. They simply can't be done in a day or two."
"It's not only that heavy social media users are sadder. It's not only that online life seems to heighten painful comparisons and both inflate and threaten the ego. It's that heavy internet users are much less likely to have contact with their proximate neighbors to exchange favors and extend care. There's something big happening to the social structure of neighborhoods."
"Pew Research Center and Elon University's Imagining the Internet Center queried technology experts, scholars and health specialists on this question: Over the next decade, how will changes in digital life impact people's overall well-being physically and mentally? Some 1,150 experts responded in this non-scientific canvassing."
"It's not clear whether the rise we're seeing in advocacy around the issue of dress code is because schools are imposing them in more discriminatory ways now than they were before, or whether more students are feeling empowered to speak up and complain about discriminatory dress codes."


Home/Uncategorized/Why don't we boycott all biennales?
This article was originally published in Artlink Issue 36:1, March 2016 Big Ideas edition.
Biennales, like war, are the continuation of politics by other means.
In early 2014 at the height of the brouhaha surrounding the non boycott of the 19th Biennale of Sydney I commented that I had boycotted the previous eighteen biennales so I would happily boycott the nineteenth as well but I wasn't prepared to promote the delusion that artists boycotting an exhibition could in any way assist asylum seekers. Sure enough after Luca Belgiorno-Nettis had been scapegoated and the artists claimed victory as they hastily retreated it was back to biennale business as usual and absolutely nothing had changed for refugees.
With the 20th Biennale now upon us it seems the appropriate time to discuss the political nature of biennales. If the 19th Biennale of Sydney was tainted then so too are most cultural institutions, for more complex reasons than funding. I want to look more closely at this strained marriage of convenience between politics and the visual arts and then offer some suggestions about how we might get a bit more fun out of our subservient place in the relationship.
Biennales and triennales are an evolution of the international exhibitions that began with The Great Exhibition of London in 1851. The future pattern was set by its ideological program of internationalism dominated by British colonial ambition but also by the accommodation of a wide variety of class and political interests, except those of the radical working class. In fact the ticketing arrangements emphasised class, starting at £1 for the first few days reducing in stages to 1 shilling in the last months, effectively quarantining different social strata into different visiting times. By the end of the nineteenth century thirteen more world exhibitions were held in various international capitals including Sydney in 1879-80 and Melbourne in 1880-81.
Although the arts were a major feature of most international exhibitions the model for current art biennales was the Venice Biennale. The first in 1895 was, like the exhibitions, an unabashed exercise in political propaganda by the Venice City Council. Conceived as a biennial national exhibition of contemporary art, it initially celebrated the silver anniversary of King Umberto and Queen Margherita of Savoy. Major foreign and Italian artists were invited but uninvited Italian painters and sculptors were also included by jury selection. Until 1920 the Mayor of Venice was ex officio president of the Biennale and in 1930 control passed from the Venice City Council to the national Fascist government of Mussolini.
The significance of the Venice Biennale as the first instance of a cultural meme lay in factors that continue to birth more biennales – nationalism, cultural tourism, urban regeneration, personal and institutional prestige, displays of conspicuous wealth. Biennales are enhanced opportunities for the rich and powerful rather than the artists whose quaint belief about their own centrality is soon disproven in practice.
Venice Biennale has been described as an art fair where nothing is for sale but it makes greater claims for its own cultural significance. Australian authorities have never understood this, treating it as a traditional world-expo-style trade fair where superior conventionality is paraded as a virtue. The fact that the best art at any time is invariably the least conventional is apparently not grasped by decision makers who feel most comfortable with the constipated virtuosity that may be admirable in say, a concert pianist, but makes for completely forgettable visual art. Their determination to gain approval by extreme conformism to dated international trends has been clearly seen and so in that way at least the colonial attitudes that underlie Australian culture are being honestly represented.
It is sad that so little has changed. Australia's first Venice Biennale representatives in 1958 were Arthur Streeton and Arthur Boyd. Boyd may have been in his early thirties but his work was conservative and backward looking. Streeton was long dead by then and his best work had been done over fifty years earlier. Not a lot has changed as recent representatives have rung out variations on a conceptualesque approach that originated over fifty years ago in the late 1960s. Innovation has been limited to choice of commissioners where professional curators have been ousted in favour of business people, wealthy amateurs who now want the limelight for themselves.
But Australia's approach to the Venice Biennale is only a minor example of the workings of our official culture. The Venice Biennale as a whole has been more adventurous and complex than its many imitators. The Biennale of Sydney, started in 1973, was the first biennale to be established in the Asia-Pacific region and with Venice, the Bienal de São Paulo (1951 ) and documenta (1955), is now one of the longest running exhibitions of its kind.
Biennales have proliferated in the last twenty years. The Biennial Foundation lists approximately two hundred biennales and triennales worldwide. Melbourne academic Chris McAuliffe noted last year that as they are staged in 46 different countries worldwide "it can be difficult to avoid them … almost a quarter of the world's sovereign states offer one". They have become an essential instrument of international diplomacy. The Biennial Foundation lists four in Australia: the Biennale of Sydney; the Adelaide Biennale (1990); Brisbane's Asia-Pacific Triennial (1993); the TarraWarra Biennial (2006).
The Biennale of Sydney grew out of the Transfield Art Prize, one of the most lucrative prizes of the 1960s which by 1969 received an unmanageable number of entries. The 1970 Prize was by invitation, selected by NGV curator Brian Finemore and judged by Sir Roland Penrose, a major international artist and writer whose presence reflected Franco Belgiorno-Nettis's growing cultural ambition. The rumour was that Franco disliked the winning entry, Bill Clement's Reading for August 6th, described by Penrose as "a visual poem based on the tragedy of Hiroshima" and so after one more prize in 1971 he upgraded to an international biennale.
This radical gesture is best understood in the context of Belgiorno-Nettis's business ambitions. His steel fabrication and infrastructure construction company, Transfield, would expand into the naval shipbuilding industry in the 1980s. In some ways the Biennale of Sydney was Transfield's first battleship, the public engagement vehicle for the family's international ambition and networking.
Battleships are not built for the benefit of sailors and biennales are not built for the benefit of artists, a point which mostly seems to evade artists. Transfield's biennale was loaded with political and social baggage. In the two decades since the end of WW2 Australia's influx of Italian and Greek immigrants had often been vilified and even though many were highly educated they were herded into menial labouring jobs. In 1973, the Biennale's founding year, the Whitlam Government enacted the first official multicultural policies acknowledging that many members of the Australian community originally came from different cultures and supporting their right to express their cultural identity. At that time biennales were essentially an alien institutional form and Belgiorno-Nettis's proposal was a confident assertion of Italian and European values. As a conspicuously successful entrepreneur Franco was already well known for his art collection and for his willingness to help sculptors using his fabrication workshops. He had understood the value of the publicity generated by John Kaldor's earliest projects and so it was a logical but brave step to extend his philanthropy to a large scale exhibition bringing international contemporary art to Sydney.
The Biennale of Sydney diverged from the Venice model by being a curated exhibition of international and local contemporary art. Initially comparatively modest, there were to be no national pavilions, no specially constructed permanent venue. But the political was still at the core with the first exhibition launched by the recently elected Prime Minister Gough Whitlam as part of the Sydney Opera House opening celebrations. The second in 1976 was opened by the next Prime Minister, Malcolm Fraser, on November 11, the first anniversary of his overthrow of Whitlam's reformist ALP government. Fraser was greeted by demonstrations outside the AGNSW followed by a walkout as he rose to speak, his speech ultimately cut short by problems with a sabotaged sound system.
The Biennale represented both personal achievement and self interest but also an attitude that has always run through the presentation of international art in Australia, that seeing more of it meant we could emulate it better. It is a view that has persisted since the European invasion, a settler culture belief that real art only occurs elsewhere, at the distant centre of empire, superior to us but something we can aspire to imitate. It is the notorious "cultural cringe" which by this time was being rebadged as "internationalism" and was soon to morph into neoliberal globalism but right from the start it implied that culture was something to be consumed rather than created.
The triennial schedule of the early Biennale of Sydney – 1973, 1976, 1979, 1982 – somehow captures the makeshift nature of the project, the mimicry of externals of a remote source culture while missing an essential point. The themes and art works have not mattered, the art about as memorable as the Archibald Prize and the themes no more relevant than battleship names, but what has mattered is the way the biennale framed a certain cultural relationship with the rest of the world. That was a problem from the start.
Belgiorno-Nettis was rather shocked when he found that many artists did not see his new biennale as an innocent act of beneficence and were not as grateful as he expected. Vague grumbling around the first Biennale grew into full scale demonstrations around the second in 1976 and organised resistance to the third biennale in 1979.
Control and purpose were the issues at the heart of the 1970s protests and they focused on the selection of artists. The key demands were equal representation of Australian artists and equal representation of women artists. While younger Australian artists welcomed the opportunity to see more international art, a new found confidence meant they felt their work was equal to anything being produced elsewhere and deserved equal representation. And although it was not raised at the time, the original Venice Biennale model itself had provided spaces for both Italian and international art. Theoretically the protesters demands could easily have been met by the organisers but they exposed the ideological nature of the Biennale's intent, that the exhibition was in part a weapon in a debate about multiculturalism and the acceptance of migrants into the power structure of Anglo Australia. Although disguised by a certain amount of diplomatic obfuscation, Biennale organisers made clear their belief that there was no room for Australian contemporary artists in their grand plan, our role would be to applaud.
The protesting artists ultimately lost, but the organisation that grew out of the Biennale protests led to the formation of the Artworkers Union which fought for artist fees, occupational health education, and improvements in a range of similar industry conditions. In 1992 it amalgamated with Actors Equity, the Australian Journalists Association and the Australian Theatrical and Amusement Employees' Association to form The Media, Entertainment & Arts Alliance (MEAA). None of the Union's original Biennale objectives had been achieved. There has never been a biennale with equal Australian representation and the first with gender balance was not until 2006, thirty years later.
But the 1980s were the return to order after the radicalism of the 1960s and 1970s. The election of Margaret Thatcher in 1979 and Ronald Reagan in 1980 marked the beginning of the neoliberal ascendancy. Early Biennale curators were Australian or British but later they were predominantly junior members of a roving international curatorial elite generated by the global proliferation of biennales which also generated a class of biennale artists. Early Sydney biennales exhibited the typical contemporary art of their time but by the 1990s biennale art was developing into an entertainment genre in its own right, characterised by vacuous spectacle and a restless search for extreme novelty and momentary shock value. Participation by Australian artists, initially regarded as a straightforward opportunity to exhibit, slowly came to be seen as a hopeful audition for the international biennale circuit but the links between funding bodies, biennales and commercial galleries combine with the limited knowledge of fly in fly out curators to ensure that selection is limited almost entirely to artists represented by major galleries.
By 2014 the 19th Biennale of Sydney was shaping up as one more iteration of the type, mildly entertaining tourist bait with a pinch of faux controversy for publicity purposes. Now more a clapped out cruise ship than a battleship the Biennale had long outlived its original purpose as the cultural flagship for Transfield although it was still partially funded by a Belgiorno-Nettis family foundation. The organisers were complacently ill prepared for the hijacking that occurred. As in the 1970s the artists were ultimately irrelevant to the course of events, proven by the fact that the small left sects that issued demands for an artists' boycott achieved enormous publicity without any boycott ultimately occurring, other than the withdrawal of two artists.
As I said, Biennales do not exist for the benefit of artists and even if Trotskyist pirates momentarily swarmed over the rusting hulk of the Biennale of Sydney it was soon back to business as usual. Despite bitter art world infighting, defamatory accusations, much symbolic posturing and a change of benefactor, absolutely nothing was achieved that materially benefited asylum seekers. I suspect the Belgiorno-Nettis family, on reflection, were happy to be excused their obligation to provide ongoing funding that they could distribute more usefully elsewhere. The most tangible effect was the later substantial cut to arts funding by an arts minister gleefully pointing at the boycott publicity as proof that ungrateful artists who rejected corporate funding did not deserve public funding.
Nonetheless, it seemed puzzling that the art world had suddenly developed a political conscience about one "tainted" biennale when all cultural institutions had long been equally tainted instruments of neoliberalism. Transfield may have been managing detention centres while indirectly funding the Biennale but a more important art funder, the Australian Government, had not only set up the camps but had joined the aggressive wars that had driven the refugees from their homes in the first place. And a Hans Haacke style probe into the trustees and benefactors of any Australian art museum would have turned up far more alarming specimens than the comparatively benign Belgiorno-Nettis family. The bubble world of Australian art had remained blind to the larger social forces swirling around it for several decades and the anti Transfield protests were more about maintaining cloistered purity than the beginning of an engagement with appalling political realities – as far as I know there was little ongoing artist activism for asylum seekers as a direct result of the protests.
What are those realities? A history of biennales as part of the infrastructure of power is only part of the story. Biennales now fit neatly into a global cultural industry model demanding maximum audience appeal via maximum inoffensiveness. At the same time the underlying driver of art, the memetic innovation that is essential to human survival and cultural evolution, has abandoned the traditional art forms for other media, particularly the internet and social media.
The traditional art institutions can host peripheral activities but they are no longer the main game and as their preferred forms have lost significance these forms have been redeveloped as consumer art in the same way that inner city warehouses have been redeveloped as over priced "artist styled lofts". The resulting forms, zombie formalism and crapstraction for instance, are over hyped, over priced and over produced but without cultural significance. The appearance in biennales of the commoditised version of an art movement is now a certain signal the movement is completely dead, whether it was the YBA's conceptualism-for-dummies in the 1990s or the currently fashionable social practice art that parodies the activist art of the 1980s.
A lot has been written in the last ten years about this restructuring of art from a cultural enterprise into a form of globalist manufacture. The product takes many forms – entertainment, decoration, tourism, gambling, money laundering – and the producers are only notionally artists. International mainstream "Art" is now the same fake product as the mainstream media where false news is now industrialised on sites like Fox New or other Murdoch media outlets, or online where innumerable sites publish fictional news designed to appeal to every possible demographic of prejudice.
All this fits a familiar neoliberal pattern seen in the big box stores filled with cheap but barely functional pseudo products that force more substantial products out of the market. Neoliberalism has triumphed but its program of monetarising every human activity while reducing all social interaction to forms of consumption is taking place in the context of a creeping crisis. It is no longer possible to pretend that infinite economic growth is possible in a world of limited resources and possibly apocalyptic climate change. The global financial crisis of 2008 exposed the system's failure but it also drove neoliberalism to tighten its grip while it still had the power to enforce corporate control.
The backlash has begun with voters already swinging to the left in Greece and Spain, the UK and even in the USA. Naturally some artists also have recognised the growing political emergency but most have shown little understanding of their own predicament. While we rightly deplore the short sighted behaviour of corporations there is little evidence that the art world thinks beyond the next few exhibitions or the next grant round. The strongest reactions have taken the form of more politicised subject matter, an oppositional tactic that simply plays straight into neoliberalism's hands by widening the product base without challenging the actual production and distribution system. As a consequence it has recently become fashionable to fill biennales with political and social practice art, ironic but hardly disruptive.
So let's ask the question, why not boycott all biennales? What do you as artists expect to gain by participation? What do you as viewers expect to see that makes attendance worthwhile? Would it really have mattered if the Biennale of Sydney had collapsed as funding was withdrawn? If there was a moral imperative to make symbolic gestures in support of imprisoned refugees then surely there is an even greater moral imperative to fight the forces that created refugees, that are destroying civil society world wide? Where better for us to do that than by opposing the neoliberal takeover of cultural activity? Now that art as we once understood it has been dead for decades how do we as an art world "collect up the trash of the anthropocene and the exterminism of the capitalocene to something that might possibly have a chance of ongoing" as Donna Haraway recently said?
Institutional art is now effectively decoupled from cultural innovation. Those of us more concerned with cultural innovation than institutional compliance have a range of possible tactics. I have always said that there was no reason good artists should not be capable of taking the enemy's money and using it against them and as recent biennales have become more politicised there are attempts to do this. Richard Bell's Tent Embassy in the current biennale is an example of this. By recreating a major activist event that had real world consequences he sidesteps the usual flaw in political art. In most other cases it would probably be a poor tactic and an illustration of appropriation as repressive tolerance, while in Bell's case it illustrates how context is everything and how the institutions might redeem themselves by returning to an earlier role of historical conservation and interpretation. This is one of the few points where institutions and activist politics can safely meet but it is a tactic only open to the few artists who also have long standing activist histories outside the art world, who use art as an extension of their politics rather than use politics as a fashionable art world posture.
As biennales have evolved into a branch of the entertainment industry I have expected that eventually the most successful will be taken over by corporations like Disney or Fox, an outcome Banksy seemed to be predicting in his recent Dismaland installation. But debasing the biennale currency is another viable tactic, to permanently hijack the term by creating so many biennales that their individual impact is completely blunted. This is an alternative model that has been developing worldwide, the most prominent examples being Haiti's Ghetto Biennale and the Havana Biennale which both mix international contributions with focused local activities. Australia already has four official biennales and many other biennial contemporary art exhibitions, like Kandos cementa and Mildura Palimpsest Biennale, a revival of its influential forerunner, the 1960s-70s Mildura Sculpture Triennial, founded even earlier than the Biennale of Sydney. Smaller again is the Redfern Biennale, displayed in the streets of the Sydney suburb. Kandos, Mildura and Redfern break the model, they have no galleries but street art, environmental art and online art. Only occasionally international, they demand engagement with their local community and have limited audiences and resources, something seen as a feature rather than a failing. They are occasions for rethinking community, not mass entertainment.
If we took it further and broke up the Biennale of Sydney into fifty mini biennales distributed around the Sydney suburbs we could create the art equivalent of rooftop solar, promoting a distributed community level culture in contrast to the current model where the Biennale is the equivalent of a belching monstrous coal fired power station. It would only need a few international artists and a few nationally known artists randomly jumbled in with a lot of local artists then spread across the whole of Sydney.
Our job now is to participate in rescuing the whole world. If a few biennales get killed or roughed up in the process it's a small price to pay, we didn't need them anyway.


text:
Archived FDA Warning Letters (2005 - 2012)
Company: Prismic Light International, aka Sandent Co.
Subject: Dietary Supplement/Labeling/Misbranded
Issuer: New Orleans District Office
Issued: Aug. 14, 2008 Closed:
Source ucm1048177 Archive Code:
Prismic Light International, aka Sandent Co. 14-Aug-08
New Orleans District
404 BNA Drive
Building 200 - Suite 500
WARNING LETTER NO. 2008-NOL-20
Delivery Signature Requested
Timothy M. Sanders, Owner
Prismic Light International, aka Sandent Co.
4711 Sulphur Springs Road
Murfreesboro, Tennessee 37129-7201
Dear Mr. Sanders:
On May 6-7, 2008, an investigator with the U.S. Food and Drug Administration (FDA) conducted an inspection of your facility, located at 4711 Sulphur Springs Road, Murfreesboro, Tennessee. FDA has reviewed your product labels collected during the inspection and your websites at the Internet addresses www.prismiclight.com and www.sandentco.com. Based on this review, FDA has determined your CELL RENEW and CELL RENEW Essential Silica products are drugs under Section 201(g)(1)(B) of the Federal Food, Drug, and Cosmetic Act (the Act) [21 United States Code 321(g)(1)(B)]. The therapeutic claims on your websites and on the product label for CELL RENEW Essential Silica establish your products are intended for use in the cure, mitigation, treatment, or prevention of disease in humans. The marketing of these products with these claims violates the Act.
Specific examples of therapeutic claims observed on your websites and on your product label for CELL RENEW Essential Silica include:
CELL RENEW (Original Formula 1 fl. oz.)
(websites):
• "CELL RENEW® provides optimal support for patients requiring chemotherapy and/or radiation. This extra support aids the body's ability to combat common chemotherapy side effects which include nausea, weight loss, and hair loss."
• ". . . relief from allergies . . . "
• "CELL RENEW® works for topical applications . . . . [S]upports the repair of tissue on contact at the cellular level. People using CELL RENEW® topically report optimal support when dealing with warts, . . . athlete's foot, fingernail and toenail fungus, diabetic ulcers and skin cancer."
CELL RENEW Essential Silica (Connective Tissue Support 4 fl. oz)
(product label):
"CELL RENEW® Essential Silica has been formulated . . . to give maximum anti-inflammatory relief."
• "Reduction of pain & inflammation in the joints"
• "Anti-inflammatory and disinfectant"
• "Healing assistance and Pain Relief for burns"
• "Help with Alzheimer's by helping to remove aluminum"
Your websites also contain disease claims in the form of personal testimonials, including: "The biggest surprise was an immediate clearing of my sinuses. I have been struggling with allergies, which seem to keep me in a semi-stopped up state."
Your products are not generally recognized as safe and effective for the above referenced uses, and therefore, the products are "new drugs" under Section 201(p) of the Act [21 U.S.C. 321(p)]. New drugs may not be legally marketed in the United States without prior approval from FDA as described in Section 505(a) of the Act [21 U.S.C. 355(a)]. FDA approves a new drug on the basis of scientific data submitted by a drug sponsor to demonstrate the drug is safe and effective. Your products are also misbranded within the meaning of Section 502(f)(1) of the Act [21 U.S.C. 352(f)(1)] in which the labeling for these drugs fails to bear adequate directions for use.
In addition, based on the definition of the term "dietary supplement" under Section 201(ff)(2)(A) of the Act [21 U.S.C. 321(ff)(2)(A)], only products intended for ingestion may be lawfully marketed as dietary supplements. Topical products and products intended to enter the body directly through the skin or mucosal tissues, such as transdermal or sublingual products, are not dietary supplements. For these products, both disease and structure/function claims may cause them to be new drugs. Based on the claims for your CELL RENEW product observed on your websites, this product is intended for use in part as a topical treatment for various injuries (e.g., "CELL RENEW can be used, full strength or diluted, on cuts, scrapes or burns - including sunburned skin.") and for other non-ingested uses (e.g., "CELL RENEW may also be used in tepid bath or as a foot soak"). Therefore, CELL RENEW may not be marketed for these intended uses as a dietary supplement.
The violations cited in this letter are not intended to be an all-inclusive statement of violations which exist in connection with your products. You are responsible for investigating and determining the causes of the violations identified above and for preventing their recurrence or the occurrence of other violations. It is your responsibility to assure your firm complies with all requirements of federal law and FDA regulations.
You should take prompt action to correct the violations cited in this letter. Failure to promptly correct these violations may result in legal action without further notice, including, without limitation, seizure and injunction. Other federal agencies may take this warning letter into account when considering the award of contracts.
You are requested to notify this office in writing within fifteen (15) working days from the date you receive this letter of the specific steps you have taken to correct the noted violations, including an explanation of how you plan to prevent these violations, or similar violations, from occurring again. Include documentation of the corrective action you have taken. If your planned corrections will occur over time, please include a timeframe for implementation of those corrections. If corrective action cannot be completed within 15 working days, state the reason for the delay and the time in which the corrections will be completed.
During the inspection, our investigator observed unlabeled cardboard shipping cartons you identified as containing "CELLAID" for export to China. It is your responsibility under Section 801(e) of the Act [21 U.S.C. 381(e)] to ensure your product for export (1) accords to the specifications of the foreign purchaser; (2) is not in conflict with the laws of the country to which it is intended for export; (3) is labeled on the outside of the shipping package it is intended for export; and, (4) is not sold or offered for sale in domestic commerce.
Please send your reply to Karl L. Batey, Compliance Officer, Food and Drug Administration, at the above address. Any questions you may have regarding this process should be directed to Ms. Batey at (615) 366-7808.
H. Tyler Thornburg
cc: John Sanford, Food Manufacturing Administrator
Tennessee Department of Agriculture
Ellington Agricultural Center - Porter Building
Box 40627, Melrose Station


Tool (algorithm) to invalidate the Polya conjecture. Polya's conjecture suggests that the majority of the prime factor numbers of numbers less than a precise integer is odd.
Team dCode likes feedback and relevant comments; to get an answer give an email (not published). It is thanks to you that dCode has the best Pólya Conjecture tool. Thank you.
> [News]: Discover the next version of dCode Pólya Conjecture!
In number theory, Pólya's conjecture, proposed by the Hungarian mathematician George Pólya in 1919, states that for any integer $ N $, in the decomposition into prime factors of all natural integers less than $ N $, there are more decompositions with an odd number of factors than decompositions with an even number of factors.
How to prove the Polya conjecture?
To prove that a conjecture is true, a rigorous mathematical proof is needed. To prove that the conjecture is false, it is enough to give one counter-example.
Example: For $ N = 10 $, there are 5 decompositions with an odd number of factors: $ 8, 7, 5, 3, 2 $, and 4 decompositions with an even number of factors: $ 9, 6, 4, 1 $. Since $ 5 > 4 $, the conjecture is true for $ N = 10 $, but this does not mean that it is true for all $ N $.
What is the first counterexample?
The Polya conjecture was refuted in 1958, so it is false. The smallest counterexample is the number $ 906150257 $.
What is the Polya check algorithm?
Improve the Pólya Conjecture page!


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text:
Q: How can I animate this image in a td using jQuery and/or css?
Photo Name

I have tried many things to no avail.  This is my most recent attempt, which minimizes the image, but does not move it to the right which is the whole goal here.  How to animate it to the right, outside of the td area.
var target = "#img" + Displayable.count;
$(target).animate({ "left": "+=240px", "width": "-=120px" }, "fast");

A: Instead animate left attribute you can modify a margin-left with the same result but you do not have change a position attribute however image should be animated properly.
$(target).animate({ "margin-left": "+=240px", "width": "-=120px" }, "fast");

A: In order to animate the left property, you'll want to add position: absolute to your image.  That's likely why it wasn't moving to the right.

A: Most likely you are not setting a position CSS property for the img elements. By default the position property for an element is set to static which makes the element ignore top/left/right/bottom property declarations. You need to set the element's position to something other than static.
Since you want the image to animate out of it's parent container, I suggest using position : absolute:
.displayableCell > img{
    position : absolute;
    top      : 20px;
    left     : 0;
}

That's all you need to change, the jQuery code you provided works fine.
Here is a demo: http://jsfiddle.net/PYsjz/ (click the image to see the animation)


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text:
/* 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.
 */
package org.activiti.idm.engine.delegate.event.impl;

import org.activiti.idm.api.event.ActivitiIdmEntityEvent;
import org.activiti.idm.api.event.ActivitiIdmEvent;
import org.activiti.idm.api.event.ActivitiIdmEventType;
import org.activiti.idm.engine.ActivitiIdmIllegalArgumentException;

/**
 * Base class for all {@link ActivitiIdmEvent} implementations, related to entities.
 *
 * @author Tijs Rademakers
 */
public class ActivitiIdmEntityEventImpl extends ActivitiIdmEventImpl implements ActivitiIdmEntityEvent {

  protected Object entity;

  public ActivitiIdmEntityEventImpl(Object entity, ActivitiIdmEventType type) {
    super(type);
    if (entity == null) {
      throw new ActivitiIdmIllegalArgumentException("Entity cannot be null.");
    }
    this.entity = entity;
  }

  @Override
  public Object getEntity() {
    return entity;
  }
}