text:
C & E
Aerial Deployment
CAPEX/OPX Management
Gigabit Deployments
Rural Networks
Undersea Cables
Core/Legacy
Copper-to-Fiber
DSL/G.Fast/Vectoring
Upgrades/Conditioning
Management & Motivation
Fiber Forecasts
Fiber Installation
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Hybrid Architectures
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Cell Sites
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Wireline & Wireless Integration
COVID-19 Network Response
Challenging Copper Phobia
By Russ Gundrum on	 June 1, 2019 Core/Legacy, Upgrades/Conditioning
Why Copper's Lifetime May Be Longer Than Originally Thought —
Hang on to your hats and digest this! The original network infrastructure that was designed for voice communications over a hundred years ago is still just as resilient and viable a transmission medium for the high bandwidth data circuits of the 21st Century.
I may be one of the few people who remain concerned about copper facilities, because most people are either talking about 5G cellular and/or fiber, and very few seem to care about the wireline world anymore. I'm certainly not against either of these great networking technologies. But I do contend that a breakthrough in copper technology can help extend its life, and help service providers in the Age of the IoT.
But how? It's likely you've never heard of something called the Induction Neutralizing Transformer or INT. Although the INT was developed back in the early 1970s for the telecommunications industry, it is needed more than ever in today's telecom and computer networks. Why? Because its long been misunderstood and virtually unknown technology that can improve the reliability and performance of copper facilities and improve their useful lifetime.
As you'll find in Newton's Telecom Dictionary, an INT is "A specially designed multipair longitudinal inductor that is spliced into a wireline facility to substantially reduce low frequency steady-state or surge induced voltages and currents that may be causing noise, equipment malfunctions, and/or damages or creating a personnel safety hazard."
Life Without Fiber Optic Cables
Figure 1. Dr. Timothy Schoechle's 156-page report in 2018.
There really is a copper phobia in the industry. There are many in the telecommunications industry who really want to see every last wire removed from service and replaced with either fiber optic cabling or a wireless connection.
The fear and anxiety of having to deal with this ancient technology has led many to stop maintaining the copper plant, stop training on it, or stop adopting the latest developments in extending its usefulness by providing very high bandwidth circuit capabilities. Part of the reason many go so far to avoid copper in today's telecom network is its supposed unreliability and poor circuit performance.
With the breakthrough technology of the INT, there is absolutely no reason why a simple copper wire circuit can't be more reliable, provide better performance, and operate less expensively, than a fiber or wireless system. And it's interesting that this attitude is not the case in computer networks such as LANs, as the majority of them are still copper-based.
Supporting this argument, Dr. Timothy Schoechle shared an observation in his May 2018 public policy report by the National Institute for Science, Law & Public Policy (NISLAPP), that the effort to abandon copper is picking up steam. His report, "Re-inventing Wires: The Future of Landlines and Networks", "seeks to give policymakers pause about the accelerating wireless frenzy, while illuminating the consequences of the nation's neglected wired infrastructure." Most importantly, Schoechle explains the copper technology improvements that have occurred in wired technologies in recent years and how they can help America's sustainable connectivity in the near future. (See Figure 1.)
Remember Landlines?
The inherent properties of the copper circuit — namely its susceptibility to electromagnetic interference (EMI), lightning, and power surges — continues to affect its reliability and performance in delivering the maximum bandwidth possible. Costly operational maintenance problems can limit a copper network's effectiveness to such an extent that engineers think nothing can be done to solve them.
Figure 2. A Slide 11 in my February 2014 webinar with EXFO's Andrew Long.
Way back in 2014, it was suspected that more than 50% of our Quality of Service (QoS) issues were in the proverbial Last Mile of the network that is still predominately copper-based. (See Figure 2.) This number is far bigger today, and that is why many service providers feel that the only way to solve the problem is to provide fiber end-to-end. Of course, they neglect to tell you where the end is, and the fiber is usually terminated in an Optical Network Unit (ONU) and then continues to the real end of the circuit over a copper wire, either twisted pair or coax.
Long Live Copper Pairs!
In November 2017, Drs. John Cioffi, Peter Chow, and Kenneth Kerpez, all with ASSIA, had an interesting article on their website titled DSL's ongoing efficient enablement of the internet continues… long live DSL! They stated that "Digital Subscriber Line (DSL) Internet subscriptions form an overwhelming majority (60% – 70%) of the world's 700+ million fixed-line access connections today. While the name for any DSL link may have changed terminology to 'G.fast', 'homes passed', 'fiber-to-the-curb/node/basement/distribution-point', etc., those same copper twisted-pairs today are the workhorse delivery mechanism to billions of end-user devices and Internet endpoints in residential and commercial connections. Even though the transmission characteristics of fiber may be better, it is the cost of replacing copper by fiber that has delayed the promises of fiber to everyone's home for over 40 years.
"Almost half the DSLs today no longer connect a central office all the way to a residence, but instead connect a point in the outside telephone plant to which fiber could be economically deployed to a home. Those intermediate aggregation points and/or deployment topologies are known by many names; such as, fiber-to-the-X (FTTx), where X = 'node', 'basement', 'curb', 'distribution point', etc., or 'optical network unit (ONU)'. These FTTx systems are often touted as 'fiber' connections in the press and by the operators or Internet-service providers (ISP), but they very much are still 'DSLs'. The fiber deployment programs fell short of their promise because of the high cost of construction and deployment, which runs at an average cost of about $3,000/home connected. Whereas, the case for a short twisted-pair link in conjunction with fiber can be easily 10x less costly on average over the same connections, delivering similar Internet speeds."
But what's really exciting is what Dr. Cioffi has been proposing since May 2017. It's called TDSL for Terabit DSL. Yes, you read that right: 1,000,000 Mbps down copper! This technology could provide 1 terabit over 100 meters of twisted pair, 100 gigabits over 300 meters, or 10 gigabits over 500 meters.
The November 2017 issue of the IEEE ComSoc Technology News initially had this provocative headline: "Will DSL Destroy 5G in the Battle Over the Last Mile?" Evidently that title must have proved too controversial, as it has since been updated to say: "DSL, Still The Power Behind Last Mile Access." But authors Drs. John Cioffi, Peter Chow, and Kenneth Kerpez, concluded that "These methods may be used to provide 100's of Gbps, far more economically, to broadband users and the 10's of millions of global 'small cells' necessary for the next 5G generation of wireless systems to reach their full potential economically. More measurements should help verify or alter these projections, but it seems that DSLs, based on good-old Alexander Graham Bell's twisted pairs, may indeed have another 40 years or more of contribution to our evolving and ever-expanding use of the Internet." They also provided this interesting Figure 3 showing the DSL data rate progression versus shorter twisted-pair loop length.
Figure 3. DSL Data Rate Progression Versus Shorter Twisted-Pair Loop Length.
They stated that "Clearly, as the length of copper is shortened, the achievable DSL data rates reach or exceed those offered by the best promised fiber-to-the-home systems. The cost of the fiber to an intermediate point is shared over all the subtended users, while the cost of a fiber to each home cannot be so shared. There are over 1.3 billion phone lines globally today, with roughly 500 million of them today carrying digital data/Internet via DSL signals. The cost to replace them all with fiber would exceed 1.5 trillion US dollars."
There's also a tremendous embedded copper infrastructure in Cat 5e and Cat 6 cabling that's utilized in Local Area Networks (LANs) that wasn't designed to handle the higher 2.5 and 5 Gb bandwidths that are now being deployed over them for 802.11ac Wi-Fi access points. According to Fluke Networks, a large manufacturer of networking test equipment, "about 80% of the installed base of cabling infrastructures in enterprise LANs consists of Category 5e that operates at 100 MHz or Category 6 cabling that operates at 250 MHz — both of which are typically able to support up to 1000 Mbps."
Incidentally, the majority of this cabling is unshielded twisted pair (UTP), and thus more susceptible to interference issues. The Fluke article points out the particular issue of Alien Limited Signal-to-Noise Ratio (ALSNR), also referred to as Alien Crosstalk (AXT). As shown in Figure 4, they discuss the risk assessment table from the NBASE-T Alliance, showing that ALSNR is a function of the length of bundled cables.
Figure 4. ALSNR Risk Assessment
ALSNR is nothing more than the same old inductive interference issues the telecom industry has been dealing with all these years! I gave presentations on this topic at the 2018 Protection Engineers Group (PEG) Conference on "Understanding Alien Crosstalk in LANs and Methods for Mitigating It," and at ISE EXPO 2018 on "Solving the Elusive Problem of Alien Crosstalk in LANs and G.fast Networks." Conclusion: if the grounding of spare pairs or the use of Power-over-Ethernet (PoE) helped to reduce this AXT, then the use of INTs would have the same result.
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Peter Jones, principal engineer with Cisco, and chairman of the NBASE-T Alliance that promotes the use of 2.5G/5G BASE-T LAN upgrades, gave a great presentation on "NBASE-T in the Real World: Solving Your Problems Now" at the 2018 InteropITX conference. On Slide 3 he stated that "between 2003 and 2014, approximately 70 billion meters of Cat 5e and Cat 6 cabling was sold, which represents approximately 90% of the installed base today…."
This number sounds even more impressive if you convert it to feet, which would be over 210 billion! But what was really eye-opening was what he had on Slide 6: "Copper Cable is Here to Stay!"
https://www.amazon.com/Newtons-Telecom-Dictionary-Harry-Newton/dp/0979387396/
http://electromagnetichealth.org/electromagnetic-health-blog/wires-long-press-release/
https://www.exfo.com/en/resources/blog/managing-noise-maximizing-xdsl-iptv-experience/
https://www.assia-inc.com/wp-content/uploads/2018/05/Long-Live-DSL-Nov-2017.pdf
https://www.comsoc.org/publications/ctn/dsl-still-power-behind-last-mile-access
http://www.flukenetworks.com/blog/cabling-chronicles/will-my-existing-cable-plant-support-255gbase-t
http://pegconference.com/wp-content/uploads/2018/08/Understanding_Alien_Crosstalk_in_LANs-RGundrum.pdf
https://iseexpo.com/wp-content/uploads/2018/03/Telecom-Problem-Solvers_ISE-EXPO-2018_Solving-the-Elusive-Problem-of-Alien-Crosstalk-in-LANs.pdf
http://www.nbaset.org/wp-content/uploads/2018/01/PeterInteropPPT_050218.pdf
Even Badly Neglected Copper Has Life Left!
A Hitch in the IoT
Russ Gundrum
Russ Gundrum is an authority on telecom/computer networking reliability and electrical protection problems and their solutions. Since 2002 he has been an adjunct professor at the University of Houston on computer networking. He is the principal consultant at Telecom Problem Solvers, LLC since January 2014, after retiring from AT&T. Russ's newest book is Computer Networking Breakthroughs You've Always Wanted: Without Needing Fiber Optic Cables… Even in the Age of the Internet of Things, Foreword by Don McCarty, BookBaby, 2019. For more information, please email russgundrum@telecomproblemsolvers.com or visit https://www.telecomproblemsolvers.com/ and https://www.linkedin.com/in/russgundrum. Follow Russ on Twitter @GundrumRuss. Download a PDF of Russ's book for free at http://www.computernetworkingbreakthroughs.com/.
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Home » News » NAMT News » New Work in Progress: Distant Thunder
New Work in Progress: Distant Thunder
Next, we chatted with Michael Baron, the Producing Artistic Director at NAMT member Lyric Theatre of Oklahoma. The company is about to open the world premiere of Distant Thunder by Lynne Taylor-Corbett, Shaun Taylor-Corbett and Chris Wiseman. Lyric Theatre has received a grant for this production from the Frank Young Fund for New Musicals.
Darrell Waters, a successful young attorney, returns to his childhood home in Montana to broker a deal that can benefit the impoverished Blackfeet Nation. He soon faces his reclusive father about their painful past and grapples with the paradigm of what it means to be Native American in the United States. Cultures collide and unite through music, dance, stories and faith as we witness the dawning of a Distant Thunder.
What is Lyric Theatre of Oklahoma's history with new works, and how does this new production of Distant Thunder fit into your overall commitment to new works development?
Lyric began our New Works Initiative in 2014 with a production of Triangle (NAMT Fest '12) by Tom Mizer and Curtis Moore. Our audiences still talk about that show and the excitement of having a new work given a full production here in Oklahoma. I felt it was important that Lyric not only produce new productions of musicals from the canon but that we contribute to it as well. The value of having composers in residence working on their material and having a full production outside of the critical eye of New York has been thrilling to the artists and our audiences alike. Subsequent new musical premiere highlights have included Adam Gwon and Julia Jordan's Bernice Bobs Her Hair (NAMT Fest '11), Doug Cohen and Dan Elish's Mann…and Wife (now titled The Evolution of Mann), and Alana Jacoby and Scotty Arnold's When We're Gone (fka Mortality Play, NAMT Fest '16). Since Oklahoma is home to 39 nations, Lyric is a perfect theatre to premiere Distant Thunder. Lyric will be able to nurture and develop the production in an arena of artistic safety and in a geographic area that embraces multiple tribes.
How did Distant Thunder first find its way to Lyric Theatre, and why did you decide to produce the world premiere now?
Kent Nicholson from Playwrights Horizons reached out to us and thought this show might find a home at Lyric due to our recent history of producing new musicals and strong ties to the Native American nations here in Oklahoma. Lynne Taylor-Corbett and her son Shaun then came out to Oklahoma to talk about the musical, its developmental history and their own personal story with ties to the Blackfeet Nation in Montana. I instantly loved that the musical celebrates modern Native American life and gives voice to Native youth. It also gives new opportunities for Native American musical theatre artists to finally perform as Native Americans in a story that respects and celebrates their identity. In the Heights, the Broadway musical created by Lin Manuel-Miranda and Quiara Alegría Hudes (which Shaun was a cast member of) has had a similar impact on the Latino community and I could see this show having the same effect here in Oklahoma and across the nation.
Can you tell us about who's in the room for Distant Thunder and how the rehearsal process is helping to shape the show?
This musical has brought together artists from across the country with those in Oklahoma. The company includes 16 actors, six musicians and a creative team from New York, California, Oregon, Florida, Illinois and Oklahoma. Over 10 tribal nations are represented, including two Oklahoma boys who compete in native "fancy dancing" at pow wows across the country. The rehearsals started with a week of the creative team looking at the script and score one more time before the actors arrived. The focus was to make sure the story was clear and there was a plan for integrating native instruments and vocal influences into the more traditional musical theatre score played and sung by members of the cast. The first rehearsal meet and greet was a celebration featuring Tribal leaders from around the state, with drumming, singing and lots of food, setting the stage for the inspiring theatrical event that will soon be shared with audiences.
What makes this show a great fit for your audiences, and what are you most excited to share with them when they come to the theatre?
Since the moment Lyric made a commitment to produce the show, new conversations have been happening among and with our sponsors, patrons and the staff of Lyric. Oklahoma's Tribal Nations are a huge part of the political and cultural fabric of the state, but their stories have not been told at Lyric, the state's largest professional theatre, until now. At Lyric Theatre, it has become top priority to cultivate, nurture and maintain relationships with the vibrant and diverse communities of Oklahoma. Inclusion is now a pillar of Lyric's mission where every Oklahoman can expect to see their lives and life experiences reflected on Lyric's stages. This production comes at a time when Lyric's mission, Oklahoma theatre audiences and the state as a whole are coming together to begin to tell stories that encourage and foster honest conversations about the true history of America and Oklahoma.
The musical is tuneful, funny, moving, political and inspiring all at once. I would say it is in the musical traditions of Fiddler on the Roof and In the Heights in that by telling a specific cultural story it becomes universal in performance. Just as audiences have come to know and love the people of Anatevka and Washington Heights, they will embrace the fictional characters inspired by the real people of the Blackfeet Nation in Montana. The score draws from Native American, honky tonk and modern pop rock musical theatre. The finale is a full pow wow celebration right in the theatre. I'm very proud and honored that the writers, artists and most importantly Tribal Nations of Oklahoma are coming together at Lyric to premiere this special and important new musical.
Why should folks buy their tickets to see Distant Thunder now?
Of course we have thousands of Oklahomans excited to see the show, but we would love for folks from around the country to share in Distant Thunder as well. Tickets are still available and we do have house seats available for any NAMT members who want to come check it out. Oklahoma isn't as far or as hard to get to as people think. We even have non-stop flights from both coasts! The show runs March 25-April 19 and we're happy to give folks recommendations on where to stay and where to get the best bbq and chicken fried steak.
For more information about Lyric Theatre of Oklahoma and Distant Thunder, please visit their website.
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The Vestry of Salisbury Parish
Facilities-Description & Use
Rotas: Schedules
Fall Bazaar
History of St. Peter's Church, Salisbury Parish
St. Peter's Church, Salisbury Parish is descended from the original Stepney Parish, established in the colony of Maryland in 1692 as part of the Church of England. The Mother Church of Stepney Parish, Old Green Hill Church, is still standing downriver on the bank of the Wicomico River 14 miles west of here.
A chapel (known as Salisbury Chapel) was first built on this hilltop site in 1768, a simple brick colonial church with clear glass windows, box pews, a gallery on three sides, and a simple chancel with a wooden cross. There has been continuous worship at this site since 1768. Salisbury Chapel was a chapel of Stepney Parish when it was established, and the Rector of Stepney Parish, the Rev. Alexander Adams, was most likely the first priest of the church. He died September 1769. The two original acres of glebe lands surrounding the church were eventually sold to help with repairs on the church, including land along Main and Division Streets. After American Independence, by 1791 Stepney Parish became a parish within the Diocese of Maryland, a diocese of the Protestant Episcopal Church in the U.S. In 1827 Stepney Parish was divided and the church in Salisbury became the Chapel of Ease of Spring Hill Parish (St. Paul's in Hebron was the main church of Spring Hill Parish). A parochial school was established around 1842. By 1843 the church was called St. Peter's Chapel. In 1857 under the direction of the Rector, the Rev. Augustus White, an organ was installed in the church and a bell tower with a tall steeple topped with a gold cross was completed – the steeple was said to be seen for miles as one approached the town. Fire on August 9, 1860 destroyed the colonial church. Few items were salvaged: 2 solid silver candlesticks, an instruction card, an ancient bookmark. The Civil War prevented it from being rebuilt.
Second Church
The Second Church was built by 1868. Different from the first Colonial Church, the Second St. Peter's Church was built in the Romanesque style, with a large rose window on the west wall, three stained glass windows on the east wall. Pews and communion rail were of walnut and the columns led the eye to a beamed ceiling. A bell tower contained a large, deep-toned bell used to call members to services, and to serve as the town's fire alarm. In 1868 the General Convention approved the division of the Diocese of Maryland and the parish became part of the new Diocese of Easton. Parsons Cemetery was established in 1873 from a bequest of land by parishioner Benjamin Parsons and that became a parish cemetery. Around the time that Wicomico County was formed, the Diocese of Easton's Annual Convention established Salisbury Parish in 1879, separating it from Spring Hill Parish and declaring the boundaries of the parish to be "within the corporate limits of the town." During the period of 1883-86 a chancel was added to the second church with an elegant marble altar, a Sunday School room was built underneath the chancel, and the graves in the surrounding churchyard were moved and reinterred in Parsons Cemetery. The Great Fire of Salisbury, Sunday, October 18, 1886 destroyed the second church. Only the candelabra, cross, an eagle lectern and a few holy vessels (on display in the Parish Museum) were saved. All that remained were four roofless charred walls.
Third Church (Present Church)
Building the third (and present) church began soon after the October 18, 1886 fire; the first service was held on Christmas Day 1887, and the structure was completed in 1888. The present church was built on the same foundation as the second church. Architect for the present church building was the renowned Charles Burns of Philadelphia; building contractor was Slemons and Jones. The building design is Italian Romanesque (13thCentury Lombardy); the interior is a traditional basilica plan. The building was planned to resemble another Episcopal church designed by architect Burns: the Church of the Annunciation, 12thand Diamond Sts. In Philadelphia, built 1885 (no longer there). St. Peter's Pulpit, still in use today, was installed in 1888 as a gift from the Church of the Annunciation.
After the 1868 fire the bell was recast in 1888 in Baltimore and since the bell tower was not completely rebuilt, the church's bell was installed instead in the Courthouse a block away. The Baptismal Font was installed and dedicated in 1894. Around 1894 a storm blew out the rose window and damaged the unfinished bell tower.
Once the debt on the church was paid, on St. Peter's Day, June 29, 1901, the Bishop of Easton, the Rt. Rev. William Forbes Adams, consecrated the building to the service of Almighty God. In 1914 the bell tower's third story and belfry above were completed.
In 1916 the church was redecorated to resemble how it appears today. Installed at that time were the Rood Beam, the heather brown floor tiles, the chancel floor of Tennessee marble, oak choir stalls and pews, a new altar of American Caen stone, and the handpainted triptych above the altar. New wiring and light fixtures were added. A new Sunday School room was also built under the Sacristy.
The Parish House adjacent to the church was built in 1924. It houses the offices, library, nursery, and parlor on the first floor, classrooms on the second floor, and a large hall, kitchen and choir room in the basement. The Parish House was remodeled in the 1980s and the Parish Hall renovated in 2017.
The Parish Museum complete with artifacts and items of historical interest is located in the Parlor Room. Memorial windows in the church were mostly installed individually and in groups in the early half of the 1900s.
In 1996 the bell was moved from the Courthouse building to its present location in St. Peter's bell tower with the stipulation that the bell was to continue to ring the hours for the city as had been done for 100 years at the Courthouse. The inscription on the bell from Isaiah 51 reads: "Hearken unto me, ye that follow after righteousness, ye that seek the Lord."
In the late 1970's a Moeller pipe organ was installed. In January 2018 a new Anglican style Walker digital organ was installed.
St. Peter's Episcopal Church has a vibrant congregation of more than 180 active households with an average Sunday attendance of 150. Open every day for public prayer St. Peter's continues to worship in the Anglican tradition; its mission is to know and to share the love of Christ. All are welcome at St. Peter's. Sunday worship is at 7:45am, 9:00am, and 11:00am (8:00am and 10:00am in summer). Visit our website: www.stpeterschurch.net
St. Peter's Church Architecture
The Romanesque Revival brick church faces southwest with the gable roof oriented on a southwest/northeast axis. Built in several stages between 1887 and 1924, the common bond brick church rests on slightly raised foundation with an excavated cellar. Following a traditional basilica plan with a center nave and side aisles, the main block was erected after the October 1886 fire.
The southwest elevation of the 1887 main block is a symmetrical brick facade of seven-course common bond walls that rise to a medium pitched gable roof the covers the center nave and shed roofs that protect each side aisle. The roofs are sheathed with a combination of slate and asphalt shingles. Fixed in the center of the nave is a large double-door entrance accessed by a set of stone steps. The replacement doors, made of mahogany, are topped by a round arched colored glass transom. Surrounding the entrance doors is a corbelled and recessed brick surround. Flanking the entrance are narrow round arched colored glass windows filled with colored glass and sandstone sills.
Two molded brick beltcourses stretch across the nave with nine decorative terra cotta panels fixed between. Rising atop the beltcourses are brick pilasters that flank a large, round colored glass window which is accented on four corners by terra cotta panels. The round window is set within a brick recess. The gable end of the nave is finished with a pediment of corbelled brick that frames a tympanum enriched with a Star-of-David set in glazed headers. A wooden crown molding finishes the edge of the roof.
Each side aisle is defined by a single round arched door opening framed by corbelled brick, and two round arched windows filled with colored glass. Sandstone sills accent the window and door openings. The corner of each aisle is accented with a brick pilaster that rises to a decorative brick cornice which trims the edge of the shed roof.
Attached to the northwest corner of the main block is a four-story entrance and bell tower laid in seven-course common bond. The west wall is pierced by a series of round arched window openings on each story, which is defined by horizontal bands of decorative brickwork. The first floor is pierced by a single round arched window opening framed by a decorative arch of brick and a sandstone.
The triptych on the east wall, painted on oak panels, was created by Chapman Decorative Company, Philadelphia under the "personal supervision" of the architect for the remodeling project, Frank R. Watson of Watson and Huckel, Phil. Central panel: "Calvary Triumphant" Our Lord stands with outstretched arms against a cross of gold, in the attitude of King, Lord and Bishop. St. Mary and St. John stand in reverence and adoration. Side panels: St. Peter and St. Paul. Base of triptych: Moses, apostles, evangelists and martyrs. Rood and rood beam installed 1915: top of the rood is a painting of the Heavenly Dove and at the ends of the arms are the Angels of the Resurrection. At the center are the three nails surrounded by the crown of thorns. At the base of the cross is the Lamb of God. The Altar, installed in 1915, is made of American Caen stone; the tabernacle with the Reserved Sacrament is in the center of the altar below the cross. The lit Sanctuary Candle to the left of the altar signifies the presence of the Reserved Sacrament in the tabernacle. Chancel floor of Tennessee marble was installed 1915. Seven lamps hung over sanctuary rail in 1915, symbolic of Rev. 4:5 "In front of the throne burn seven flaming lamps, which are the seven spirits of God."
7:45am Holy Eucharist Rite I
9:00am Holy Eucharist Rite II
11:00am - Sung Holy Eucharist - Rite II
Sunday Summer Schedule
8:00am Holy Eucharist - Rite I
10:00am Holy Eucharist - Rite II
9:30am Monday Morning Prayer I
5:30pm Tuesday Evening Prayer II
12:00noon Wednesday Noon Eucharist with Healing Service
5:30pm Thursday Evening Prayer I
5:30pm Friday Evening Prayer I
8:30am Saturday Morning Prayer II
115 Saint Peters St
info@stpeterschurch.net


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 com.facebook.presto.sql.planner.iterative;

import com.facebook.presto.sql.planner.PlanNodeIdAllocator;
import com.facebook.presto.sql.planner.plan.PlanNode;

import java.util.HashMap;
import java.util.HashSet;
import java.util.List;
import java.util.Map;
import java.util.Set;
import java.util.stream.Collectors;

import static com.google.common.base.Preconditions.checkArgument;
import static com.google.common.base.Preconditions.checkState;

/**
 * Stores a plan in a form that's efficient to mutate locally (i.e. without
 * having to do full ancestor tree rewrites due to plan nodes being immutable).
 *
 * Each node in a plan is placed in a group, and it's children are replaced with
 * symbolic references to the corresponding groups.
 *
 * For example, a plan like:
 *    A -> B -> C -> D
 *           \> E -> F
 *
 * would be stored as:
 *
 * root: G0
 *
 * G0 : { A -> G1 }
 * G1 : { B -> [G2, G3] }
 * G2 : { C -> G4 }
 * G3 : { E -> G5 }
 * G4 : { D }
 * G5 : { F }
 *
 * Groups are reference-counted, and groups that become unreachable from the root
 * due to mutations in a subtree get garbage-collected.
 */
public class Memo
{
    private final PlanNodeIdAllocator idAllocator;
    private final int rootGroup;

    private final Map<Integer, PlanNode> membership = new HashMap<>();
    private final Map<Integer, Integer> referenceCounts = new HashMap<>();

    private int nextGroupId;

    public Memo(PlanNodeIdAllocator idAllocator, PlanNode plan)
    {
        this.idAllocator = idAllocator;
        rootGroup = insertRecursive(plan);
        referenceCounts.put(rootGroup, 1);
    }

    public int getRootGroup()
    {
        return rootGroup;
    }

    public PlanNode getNode(int group)
    {
        checkArgument(membership.containsKey(group), "Invalid group: %s", group);
        return membership.get(group);
    }

    public PlanNode extract()
    {
        return extract(getNode(rootGroup));
    }

    private PlanNode extract(PlanNode node)
    {
        if (node instanceof GroupReference) {
            return extract(membership.get(((GroupReference) node).getGroupId()));
        }

        List<PlanNode> children = node.getSources().stream()
                .map(this::extract)
                .collect(Collectors.toList());

        return node.replaceChildren(children);
    }

    public PlanNode replace(int group, PlanNode node, String reason)
    {
        PlanNode old = membership.get(group);

        checkArgument(new HashSet<>(old.getOutputSymbols()).equals(new HashSet<>(node.getOutputSymbols())),
                "%s: transformed expression doesn't produce same outputs: %s vs %s",
                reason,
                old.getOutputSymbols(),
                node.getOutputSymbols());

        if (node instanceof GroupReference) {
            node = getNode(((GroupReference) node).getGroupId());
        }
        else {
            node = insertChildrenAndRewrite(node);
        }

        incrementReferenceCounts(node);
        membership.put(group, node);
        decrementReferenceCounts(old);

        return node;
    }

    private void incrementReferenceCounts(PlanNode node)
    {
        Set<Integer> references = getAllReferences(node);

        for (int group : references) {
            referenceCounts.compute(group, (g, count) -> count + 1);
        }
    }

    private void decrementReferenceCounts(PlanNode node)
    {
        Set<Integer> references = getAllReferences(node);

        for (int group : references) {
            int newCount = referenceCounts.compute(group, (g, count) -> count - 1);
            checkState(newCount >= 0, "Reference count became negative");

            if (newCount == 0) {
                PlanNode child = membership.get(group);
                deleteGroup(group);
                decrementReferenceCounts(child);
            }
        }
    }

    private Set<Integer> getAllReferences(PlanNode node)
    {
        return node.getSources().stream()
                    .map(GroupReference.class::cast)
                    .map(GroupReference::getGroupId)
                    .collect(Collectors.toSet());
    }

    private void deleteGroup(int group)
    {
        membership.remove(group);
        referenceCounts.remove(group);
    }

    private PlanNode insertChildrenAndRewrite(PlanNode node)
    {
        return node.replaceChildren(
                node.getSources().stream()
                        .map(child -> new GroupReference(
                                idAllocator.getNextId(),
                                insertRecursive(child),
                                child.getOutputSymbols()))
                        .collect(Collectors.toList()));
    }

    private int insertRecursive(PlanNode node)
    {
        if (node instanceof GroupReference) {
            return ((GroupReference) node).getGroupId();
        }

        int group = nextGroupId();
        PlanNode rewritten = insertChildrenAndRewrite(node);

        membership.put(group, rewritten);
        referenceCounts.put(group, 0);
        incrementReferenceCounts(rewritten);

        return group;
    }

    private int nextGroupId()
    {
        return nextGroupId++;
    }

    public int getGroupCount()
    {
        return membership.size();
    }
}

redpajama_set_name: RedPajamaGithub


text:
/**
 * @ngdoc directive
 * @name patternfly.charts.component:pfDonutPctChart
 * @restrict E
 *
 * @description
 *   Component for rendering a percentage used donut/radial chart.  The Used Percentage fill starts at 12 o'clock and
 *   moves clockwise.  Whatever portion of the donut not Used, will be represented as Available, and rendered as a
 *   gray fill.
 *   There are three possible fill colors for Used Percentage, dependent on whether or not there are thresholds:

 *

 *
When no thresholds exist, or if the used percentage has not surpassed any thresholds, the indicator is blue.
 *
When the used percentage has surpassed the warning threshold, but not the error threshold, the indicator is orange.
 *
When the used percentage has surpassed the error threshold, the indicator is is red.
 *

 *   The directive will calculate the Available Percentage (Total - Used), and display it as a grey radial fill.
 *
 *

 *   See http://c3js.org/reference.html for a full list of C3 chart options.
 *
 * @param {object} config configuration properties for the donut chart:

 *

 *
.chartId        - the unique id of the donut chart
 *
.units          - unit label for values, ex: 'MHz','GB', etc..
 *
.thresholds     - warning and error percentage thresholds used to determine the Usage Percentage fill color (optional)
 *
.tooltipFn(d)   - user defined function to customize the tool tip (optional)
 *
.centerLabelFn  - user defined function to customize the text of the center label (optional)
 *
.onClickFn(d,i) - user defined function to handle when donut arc is clicked upon.
 *
.labelConfig    - object containing properties for external label (optional) - default: undefined
 *

 *
.orientation - string with possible values: 'left', 'right' (optional) - default: 'center'
 *
.title       - string representing a prefix or title (optional) - default: empty string
 *
.label       - the wording format to display, possible values: 'used', 'available', 'percent', 'none' (optional) - default: 'used'
 *
.units       - unit label for values, ex: 'MHz','GB', etc.. (optional) - default: empty string
 *
.labelFn     - function to customize the text of the external label. This callback returns no data. Updated display data can be accessed through the passed and updated parameter 'data'. (optional) - default: undefined
 *

 *

 *

 *
 * @param {object} data the Total and Used values for the donut chart.  Available is calculated as Total - Used.

 *

 *
.used          - number representing the amount used
 *
.percent       - number representing the percentage used
 *
.total         - number representing the total amount
 *
.dataAvailable - Flag if there is data available - default: true
 *

 *
 * @param {string=} center-label specifies the contents of the donut's center label.

 * Values:
 *

 *
 'used'      - displays the Used amount in the center label (default)
 *
 'available' - displays the Available amount in the center label
 *
 'percent'   - displays the Usage Percent of the Total amount in the center label
 *
 'none'      - does not display the center label
 *

 *
 * @param {int=} chartHeight height of the donut chart
 * @param {function (threshold)} on-threshold-change user defined function to handle when thresolds change

 * 'threshold' Values:
 *

 *
 'ok'      - when ok threshold is set
 *
 'warning' - when warning threshold is set
 *
 'error'   - when error threshold is set
 *

 * @example
 <example module="patternfly.charts">
   <file name="index.html">

             Error Threshold

               <pf-donut-pct-chart config="configErr" data="dataErr" chart="chartErr"></pf-donut-pct-chart>

             Warning Threshold
             <pf-donut-pct-chart config="configWarn" data="dataWarn"></pf-donut-pct-chart>

             {{threshLabel}} Threshold

               <pf-donut-pct-chart config="configDynamic" data="dataDynamic" center-label="labelDynamic"
                                   on-threshold-change="thresholdChanged(threshold)">
               </pf-donut-pct-chart>

             No Threshold
             <pf-donut-pct-chart config="configNoThresh" data="dataNoThresh"></pf-donut-pct-chart>

             center-label = 'used'
             <pf-donut-pct-chart config="usedConfig" data="usedData" center-label="usedLabel"></pf-donut-pct-chart>

             center-label = 'available'
             <pf-donut-pct-chart config="availConfig" data="availData" center-label="availLabel"></pf-donut-pct-chart>

             center-label = 'percent'
             <pf-donut-pct-chart config="pctConfig" data="pctData" center-label="pctLabel"></pf-donut-pct-chart>

             center-label = 'none'
             <pf-donut-pct-chart config="noneConfig" data="noneData" center-label="noLabel"></pf-donut-pct-chart>

             Sized with orientation left 'configLabel'

               <pf-donut-pct-chart config="configOrientationLeft" data="dataOrientationLeft"></pf-donut-pct-chart>

             Sized with 'configLabel'
             <pf-donut-pct-chart config="configOrientationCenter" data="dataOrientationCenter"></pf-donut-pct-chart>

             Sized with orientation right 'configLabel'

               <pf-donut-pct-chart config="configOrientationRight" data="dataOrientationRight"></pf-donut-pct-chart>

             Custom Tooltip, Legend, Click handling, and Center Label

             Click on Donut Arc!
             <pf-donut-pct-chart config="custConfig" chart-height="custChartHeight" data="custData"></pf-donut-pct-chart>

             <form role="form">

                   <input type="checkbox" ng-model="custData.dataAvailable">Data Available</input>

             </form>

             <form role="form" >

                 Chart Height

                 <input style="height:25px; width:60px;" type="number" ng-model="custChartHeight"/>

             </form>

   </file>

   <file name="script.js">
     angular.module( 'patternfly.charts' ).controller( 'ChartCtrl', function( $scope, $interval ) {
       // start demo 1st row
       $scope.configErr = {
         'chartId': 'chartErr',
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'}
       };

       $scope.dataErr = {
         'used': '950',
         'total': '1000'
       };

       $scope.ChartErr = {};

       $scope.configWarn = {
         'chartId': 'chartWarn',
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'}
       };

       $scope.dataWarn = {
         'used': '650',
         'total': '1000'
       };

       $scope.configDynamic = {
         'chartId': 'chartOk',
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'}
       };

       $scope.dataDynamic = {
         'used': '550',
         'total': '1000'
       };

       $scope.labelDynamic = "used";

       $scope.thresholdChanged = function(threshold) {
          $scope.threshLabel = threshold;
       };

       $interval(function () {
         $scope.dataDynamic.used = Number($scope.dataDynamic.used) + 40;
         if ($scope.dataDynamic.used > 1000) {
           $scope.dataDynamic.used = 10;
         }

         if ($scope.dataDynamic.used < 500) {
           $scope.labelDynamic = "used";
         } else {
           $scope.labelDynamic = "percent";
         }
       }, 1000);

       $scope.configNoThresh = {
         'chartId': 'chartNoThresh',
         'units': 'GB'
       };

       $scope.dataNoThresh = {
         'used': '750',
         'total': '1000'
       };

       //start demo 2nd row
       $scope.usedConfig = {
         'chartId': 'usedChart',
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'}
       };

       $scope.usedData = {
         'used': '350',
         'total': '1000'
       };

       $scope.usedLabel = "used";

       $scope.availConfig = {
         'chartId': 'availChart',
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'}
       };

       $scope.availData = {
          'used': '350',
          'total': '1000'
        };

       $scope.availLabel = "available";

       $scope.pctConfig = {
         'chartId': 'pctChart',
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'}
       };

       $scope.pctData = {
         'used': '350',
         'total': '1000'
       };

       $scope.pctLabel = "percent";

       $scope.noneConfig = {
         'chartId': 'noneChart',
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'}
       };

       $scope.noneData = {
         'used': '350',
         'total': '1000'
       };

       $scope.noLabel = "none";

       //start demo 3rd row
       $scope.configOrientationLeft = {
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'},
         'labelConfig': {
           'orientation': 'left',
           'labelFn': function () {
             return "Lorem ipsum
" + $scope.dataOrientationLeft.used + " GB used";
           }
         },
         'size': {
           'height': 85,
           'width': 85
         },
         'centerLabelFn': function () {
           return $scope.dataOrientationLeft.used + "GB";
         }
       };

       $scope.dataOrientationLeft = {
         'used': '350',
         'total': '1000'
       };

       $scope.configOrientationCenter = {
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'},
         'labelConfig': {
           'label': 'available',
           'units': 'GB',
           'title': 'Lorem ipsum,'
         },
         'size': {
           'height': 115,
           'width': 115
         },
         'centerLabelFn': function () {
           return $scope.dataOrientationCenter.used + "GB";
         }
       };

       $scope.dataOrientationCenter = {
          'used': '350',
          'total': '1000'
        };

       $scope.configOrientationRight = {
         'units': 'GB',
         'thresholds':{'warning':'60','error':'90'},
         'labelConfig': {
           'orientation': 'right',
           'labelFn': function () {
             return "Lorem ipsum
" + $scope.dataOrientationRight.percent + "% used";
           }
         },
         'size': {
           'height': 85,
           'width': 85
         },
         'centerLabelFn': function () {
           return $scope.dataOrientationRight.percent + "%";
         }
       };

       $scope.dataOrientationRight = {
         'used': '350',
         'total': '1000'
       };

       //start demo 4th row
       $scope.custConfig = {
         'chartId': 'custChart',
         'units': 'MHz',
         'thresholds':{'warning':'60','error':'90'},
         "legend":{"show":true},
         'tooltipFn': function (d) {
           return '' +
                    d[0].value + ' ' + d[0].name +
                  '';
           },
         'centerLabelFn': function () {
           return $scope.custData.available + " GB";
           },
         'onClickFn': function (d, i) {
           alert("You Clicked On The Donut!");
           }
         };

       $scope.custData = {
         'dataAvailable': true,
         'used': '670',
         'total': '1000'
       };

       $scope.custChartHeight = 200;
     });
   </file>
 </example>
 */


text:
All Career Advice Finding a job Working Interviewing Applying Resumes & Applications Seasonal Flexible Life Tips Fun Read
Top 3 Advantages of Being a Manager
Before you start printing out business cards, take a minute to review both the pros and the cons of manager jobs.
Oh snap! A manager position just opened up where you work. You're going to apply for the job first thing in the morning, and you just know you're going to get it. You'll make tons of money, have a cushy job and never have to clean the toilets again. This is gonna be great!
Pros of manager jobs
More money
You'll definitely make more money in a managerial position. Retail salespeople, on average, make around $9 an hour, or $18,700 per year. Get a retail manager job and your paycheck might just double. According to PayScale, a salary comparison site, the starting salary for a retail sales manager is between $27,000 and $40,000 a year.
The perks don't stop with just money. Managers usually get bigger discounts, better benefits, more vacation time and sometimes even bonuses.
More responsibility
It's a great feeling to know that you are trusted to make important decisions. You'll be in charge of employee schedules, ordering supplies and budgeting. You'll get to interviewpeople, hire them and promote them. Managers have a great deal of responsibility, which for the right person, is a big job perk.
More experience
Getting a management position can be a great way to turn your current job into a career. Many managers go on to become general managers or district managers, overseeing multiple stores or restaurants. Some even move on to suit-and-tie corporate jobs. As an added bonus, your management experience can be used anywhere. Even if you decide, for instance, to go from the food service industry to the retail world, you'll be valued for your ability to lead a team.
Cons of manager jobs
More tough decisions
Part of being a manager is making some very difficult decisions. Is your favorite employee stealing money out of the cash register? Like it or not, you'll be the one firing them. Forced to lay someone off? You'll be the one who has to decide who heads to the unemployment line.
Managers have to make a lot of unpopular decisions for the good of the company. So if you don't have a thick skin and can't deal with people not liking you, then you're better off staying out of management.
More pressure
Not only will you have your manager breathing down your neck about cutting store costs, you'll have your employees demanding everything from a bigger paycheck to more vacation time. You'll be the one held responsible every time something goes wrong. Did the toilet overflow? You need to figure out how to fix it. Did three people call out for the same shift? Then you've got to replace them right now. Trust us when we tell you that the more responsibility you get, the more pressure you'll face.
Nights. Weekends. Holidays. Get used to working them. Gone are the days when you could call in sick and go hang out with your friends - you're a manager now and have way too much work to do any of that. Most restaurant managers work an average of 60 hours a week. Compare that to how much you work now! While managers do get paid a bigger salary, when it's all said and done, they may actually make less per hour than some of their employees.
Amy Culver | Aug 22
Categories: Working
Amy is our Lead Copywriter at Snagajob, where she loves to use her word nerd powers to help workers and employers connect. Her first hourly job was as a cashier at Chick-fil-a.
Snagajob


Old newspapers can be plaited into baskets, boxes, lamps and other interior details. This is a long and complicated process that requires practice, patience and skill. We invite you to start plaiting with a simple basket. Weaving with newspapers is a very nice and very environmentally friendly process. We will show you how to start and how to prepare for plaiting old newspapers.
We can come to your home, school, office or event and organize sessions.
Let us know if you are interested!


text:
The Palena River or Carrenleufú is a river shared by Chile and Argentina in Northern Patagonia. It drains the waters of the Vintter Lake, also shared by these nations, and it flows into the Pacific Ocean. 56.5% of the river basin lies in Chile.

This river has a regular glacial regime and rapid white waters. The rapids between Palena and Puerto Raúl Marín Balmaceda are choice kayaking white water. The volume and rapid drop in elevation of the river is ideal for hydroelectric power plants. There are several projects at both sides of the border to use this power.

Course
The river originates as the Carrenleufú as the out-flow from Lake Vintter. Its major tributaries include the Tranquilo, Figueroa, Frío, Risopatrón and Melimoyu rivers.

See also
List of rivers of Chile
List of rivers of Argentina

References

External links
Cuenca del Río Aysén
Palena River

Rivers of Argentina
Rivers of Chile
Rivers of Chubut Province
Rivers of Los Lagos Region
Rivers of Aysén Region
International rivers of South America

redpajama_set_name: RedPajamaWikipedia


text:
from __future__ import unicode_literals

from django.db import migrations, models
import django.db.models.deletion

class Migration(migrations.Migration):

    dependencies = [
        ('posts', '0001_initial'),
    ]

    operations = [
        migrations.CreateModel(
            name='Category',
            fields=[
                ('id', models.AutoField(auto_created=True, primary_key=True, serialize=False, verbose_name='ID')),
                ('category', models.CharField(max_length=100)),
            ],
        ),
        migrations.AddField(
            model_name='post',
            name='category',
            field=models.ForeignKey(null=True, on_delete=django.db.models.deletion.CASCADE, to='posts.Category'),
        ),
    ]


Spring flowers frame. Download thousands of free vectors on Freepik, the finder with more than 3 millions free graphic resources. Best Flower Frame Free Vector Art Downloads from the Vecteezy community. Flower Frame Free Vector Art licensed under creative commons, open. Download Free Spring Flower Frame Vector Vectors and other types of Spring Flower Frame Vector graphics and clipart at alaid.de!. Best Spring flower frame border ✅ free vector download for commercial use in ai, eps, cdr, svg vector illustration graphic art design format. spring flower. Find spring flower frame Stock Images in HD and millions of other royalty-free stock photos, illustrations, and vectors in the Shutterstock collection. Thousands of. Spring floral frame. Download thousands of free vectors on Freepik, the finder with more than 3 millions free graphic resources.
Faux Floral Frame Wreath - Elegant DIY Decor or Photo Prop!


so violent and bitter that at times it seemed there would be no one left standing in this forsaken land. But now, as is so often true in the most challenged societies, women have stepped in and are leading the way in the rebuilding of this land that was founded and colonized by freed American slaves in 1821-1822, who sought greater freedom and equality.
Today, Liberia boasts Africa's only female President. From the purposeful Pres. Ellen Johnson-Sirleaf to the midwives, from the Ministers to the farmers, from the Police force to the youth, from the ort authorities to the religious leaders, all the women together are determined to rebuild a proud and peaceful state. With a strong woman at the helm as president and resilient leaders on all levels of society, we begin to see a liberation of Liberia....and of its women. What does the future hold in store for this nation, Africa's oldest republic?


Plush toys for girls and boys.
I was hired by my client to design a series of 17 plush toys featuring human kids of various races and their animal pals. The toys will be manufactored in two sizes- a larger toy that can be picked up and played with and a much smaller version designed to be stuck on jackets and blankets, and the larger toys themselves. and carried around.
I created a front and side view of each toy and carefully chose colors. Several sketches are seen here, along with working models of the dolls and, finally, finished, approved plush toys. The toy manufactorer did an excellent job of capturing the likenesses I created.
These dolls exist now only as prototypes- when they become available for purchase I will post a link.
This group of characters is called "Sticky Buddies". I created their logo, which is here.
A four page comic strip adventure I drew featuring these characters is here.


text:
Home > Libraries > Archives > Oregon Wine History Archive > Willamette > Interview Photos > 1007
Browse All Willamette Valley Oral History Interview Photos
Brian and Jill O'Donnell Interview 01
Brian and Jill O'Donnell are photographed during an oral history interview at the Jereld R. Nicholson Library at Linfield College in McMinnville, Oregon on April 6, 2019. The O'Donnells were interviewed by Linfield College archivist Rich Schmidt.
Brian and Jill O'Donnell are the founders and owners of Belle Pente Vineyard & Winery, established in 1994, where Brian is responsible for production and shares marketing and administrative duties with Jill.
(left to right): Jill O'Donnell, Brian O'Donnell, Rich Schmidt
Linfield College Archives, "Brian and Jill O'Donnell Interview 01" (2019). Browse All Willamette Valley Oral History Interview Photos. Image. Submission 1007.
https://digitalcommons.linfield.edu/owha_willamette_ohphotos/1007


Weston Bergmann is a Kansas City angel investor that helps startups achieve higher likelihoods of success. He's the lead investor in the Missouri-based business incubator and seed accelerator BetaBlox. His dog's name is Bootstrap.


King of Prussia, PA – DrugDev Spark™ changes the dynamic of the industry's technology landscape by providing the first comprehensive unified suite of proven technology solutions from planning through closeout. The cloud-based suite is comprised of solutions used by 85 sponsors and CROs on over 1,800 global clinical trials – including site selection, activation, payments, engagement, training and eConsent – all tied together with the award-winning DrugDev Golden Number universal identifier for site facilities and staff.
Join a complimentary 30-minute webinar on February 14 at 12pm EST hosted by DrugDev Chief Commercial Officer Brett Kleger to see how innovative companies are improving collaboration, standardization and the site experience with this trusted clinical technology. DrugDev Spark is comprised of SaaS tools optionally supported by expert services to meet the business needs and functional model of sponsor and CRO customers.
Register to attend the webinar or request a demo of DrugDev Spark at drugdev.com.


Company News_Nanjing Shiheng Electronics Co.,Ltd.
2019/4/2 as a professional manufacturer of NTC thermistor, shiheng electronics was set up as "survey point for private enterprises of all-china federation of industry and commerce".
Recently, after becoming "provincial enterprise burden monitoring point", as a professional manufacturer of NTC thermistor, shiheng electronics was set up as "survey point for private enterprises of all-china federation of industry and commerce".
the	2019	New	Year's	annual	meeting	of	Shiheng	Electronics	was	held	in	the	courtyard	of	Yinjia,	Hushu	Town.
Shiheng	showed	Inrush	current	limited	NTC	thermistors,	temperature	measurement	NTC	thermistors,	compensation	NTC	thermistors,	NTC	thermistor	temperature	sensor,	varistors,	PPTC	thermistors	etc.
2019/3/21Shiheng Electronics is on the 2019 Munich Shanghai Electronics Show now.
Shiheng	Electronics	is	on	the	2019	Munich	Shanghai	Electronics	Show	now.
2019/3/2Shiheng Electronics participated in "Nanjing Manufacturing Industry High-Quality Development Promotion Conference"
As a professional manufacturer of NTC thermistor, Shiheng Electronics participated in the "Nanjing Manufacturing Industry High-Quality Development Promotion Conference" held by Nanjing Municipal Party Committee and Municipal Government on the morning of February 28, 2019.
They come from the power NTC thermistor workshop, temperature-measuring thermistor workshop, NTC temperature sensor workshop and other departments.
Nanjing Shiheng power NTC thermistor production department was awarded "March 8th red flag collective of Jiangning District, Nanjing"


Review Copy Received from Publisher in exchange for an honest review.
Baltasar Infante, a bookmaker's apprentice living in 1492 Spain, can weasel out of any problem with a good story. But when he awakes one night to find a monster straight out of the stories peering at him through his window, he's in trouble that even he can't talk his way out of.
Soon Baltasar is captured by a mysterious arm of the Spanish Inquisition, the Malleus Maleficarum, that demands he reveal the whereabouts of Amir al-Katib, a legendary Moorish sorcerer who can bring myths and the creatures within them to life. Baltasar doesn't know where the man is—or that he himself has the power to summon genies and golems.
Baltasar must escape, find al-Katib, and defeat a dreadful power that may destroy the world. As Baltasar's journey takes him into uncharted lands on Columbus's voyage westward, he learns that stories are more powerful than he once believed them to be—and much more dangerous.


Custom Fonts - Authentic Documentation - Code Supply Co.
Easily upload and integrate custom fonts on your site by using the Custom Fonts module. No coding required.
Prepare .woff and .woff2 files. It's sufficient to use the .woff2 file only too.
Then follow these steps to integrate your custom fonts on your website.
First enable the Custom Fonts module on the Powerkit settings page. Being an advanced module, it's disabled by default.
Navigate to Appearance → Fonts → Custom Fonts.
Input name of the font family, upload files and select weight and style.
If you use one of our premium WordPress themes, you will find your custom fonts right in the typography fields in Appearance → Customise → Typography. This feature also supports live-preview and allows configuring your fonts without refreshing the browser page.
If you're using a third-party theme, navigate to Appearance → Fonts → Typekit and copy the available CSS classes. Then you may use them in Appearance → Customise → Additional CSS.


Please can you give me the number of the black cartridge and the number of the colour cartridge for the PSC 1110 printer?
The HP PSC 1110 printer can use a HP 56 high capacity or light-user black cartridge or a HP 27 black cartridge. It also uses a HP 57 high capacity tri-colour or light-user ink cartridge or a HP 28 tri-colour cartridge. Any of these cartridges (shown above) can work in the PSC1110 provided that you have one black and one tri-colour cartridge installed.
Which cartridge can I use for the HP PSC 1110?
Any of the cartridges listed on this page are compatible with the HP PSC 1110 All-in-One printer. The PSC 1110 requires that you install one black and one tri-colour cartridge. There are different options for black ink and for tri-colour ink because there are a range of cartridges that can print in black or tri-colour. The only difference between them is how much ink they contain. For instance, you can choose to buy a HP 28 standard capacity tri-colour cartridge or a HP 57 high capacity tri-colour cartridge depending on how much ink you use and how much you'd like to spend.
This compact multifunction printer is integrated with a copier and a scanner to offer more value for your money. Aimed at the home user, it promises high-resolution prints and versatile printing options. Users still complain about the sluggish print speed and the performance of the HP PSC 1110.
HP gave the PSC 1110 a compact body that weighs 11 lbs and measures 16.8 inches wide. At 6.7 inches, it is quite short, and its diameter of 10.2 inches allows it to fit even small desks and cabinets. The HP PSC 1110 relies on colour inkjet technology, which uses the traditional ink system. The scanner's resolution can be enhanced to 19200x19200 dpi, while the printer's maximum resolution goes up to 2400x1200 dpi.
The control panel is intuitive even for first-time users. This device can be a standalone copier, which is convenient when a computer is not present. The HP Photo and Imaging Software is included in the package, so you can get creative with pictures and even turn them into iron-on transfers, wallet-sized prints, and sticker prints with the HP PSC 1110. The intelligent scanner of the HP PSC 1110 is integrated with an optical character recognition program, so scanned documents can be transformed into text, which you can edit later.
The speeds of both the digital copier and the printer are not impressive at only 6 to 8 ppm (even slower at 'best' mode). The HP PSC 1110 is limited to USB 2.0 only, and it runs into compatibility issues with Windows 7 computers. The monthly duty cycle is a maximum of 1000 pages, which is low compared to other multifunction printers from the same manufacturer.


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: Click for game blog links : Anyway Attacks of Opportunity The Book of Judd Clinton R. Nixon Crow Tracks Deeper in the Game Dissolute Games The Dog Blog Driving Blind Empyrean Ex Mortis Esoteric Murmurs Fair Game Flight Papers The Fruitful Void Heads or Tales Kallisti Press Old Sake Guy One Thousand One Parthenia Raven Swallows the Sun Rob Donoghue Sin Aesthetics Summerbird This is My Blog Well of Urd Yudhishthira's Dice
Canon Puncture
Durham 3
Have Games, Will Travel
Sons of Kryos
Virtual Play
: Click for blog archives :
GHOST/ECHO Wordles
GHOST/ECHO v1.1
GHOST/ECHO
Gamers League Shirt
On the Wicked Range...
You Can't Ruin the Story
Expectations and Permissions
(re)covery
Random Book Cover
Why I always use the term "Story Games" ironically
Eero said something over on the forum that really resonated with me, so I'm posting it here as a way of preserving it for myself.
"I can't get really interested in [the games] where I'm supposed to be responsible for creating a good story. As far as I'm concerned, I want the rules mechanics to take care of that part so I can focus on playing my character / throwing nasty stuff at the player characters or whatever other fun things there are in the game to be done. 'Making a story' is not on my list of fun things for roleplaying simply because when I want to make a story, I write one."
I want to take the phrase "It would make a better story if..." out behind the woodshed and shoot it. At least its use during play, anyway. During post-game debriefing it has its place. But too much story-planning during actual play just annoys the crap out of me. Who's definition of "better story" are we supposed to be using, anyway? And are we really going to hash that all out in the moment, while someone is holding dice in their hand?
Overt, explicit story-planning during play is like having an editor watching over your shoulder while you compose your novel. It kills the creative process with over-analysis and robs roleplaying of one of its core features: unplanned, dynamic, creative collaboration that can take any final shape. "Good stories" be damned.
Labels: rpg theory
posted by John Harper at 1:07 PM
Brand Robins says:
The thing about taking away the phrase "it would make a better story if..." is that it might help get people to actually say what they mean more often.
Sure, sometimes they mean just what they're saying. But more often what they're really saying is "you're doing that wrong" or "doing it that way will make the game less fun for me" or "stop being a pushy asshole" or "I'm now being a pushy asshole but don't want you to know it" or "Jesus, can't I just kill the dragon and fuck the princess because my week sucked and this isn't fun right now."
And while we'll probably never get folks actually saying any of the latter things, it'd only help in games of most types if we could say "No, I don't like that, it makes the game less fun for me" or "I'm not sure what I would do with that" rather than "Oh this abstract thing called story is bad if we do that, but you know, I don't care if you want to be an aesthetic fuck head, please do go ahead and show your total lack of taste if that's what you really want."
Because that phrase, it does mean something. But it doesn't mean what we want to pretend that it means most of the time.
I think I've been falling out of love with the "story game" concept for a while too. I'm still excited about Story Games, I'm just not excited about games where making story is held up as the highest goal fo the game. I see a few people leaning this way lately. I feel as though 4th edition D&D kind of called us on our bullshit that way.
Matt Wilson says:
I'm not sure what Eero means by having the mechanics do it for me, but yeah, the whole "good" thing gives me that "perpetual draft stage" icky feeling.
Add to my next PTA revision a bit about TV and deadlines. Yeah, you could do better if you had six months, but dude you gotta get that shit on the air.
John Harper says:
Great comments, all.
Matt, I took "the mechanics do it for me" to mean stuff like PTA issues + conflicts, IAWA action & consequences rolls, Dogs see & raise, and Sorcerer kicker + demons + resolution. In other words, we just play the game, and story stuff happens without anyone paying particular attention to it.
This also reminds me of how boring it is for me to play D&D with the tactically obsessed.
You know, it's funny and weird how much discussion about the things called "story games" becomes self-conscious, and that the result is that it bleeds into play. It's kind of a cargo cult thing where people want to capture the amazing play they read about online, and then through some telephone-game weirdness they play, oh, PTA and say things out loud like "Ok, what does everyone thing the story should do now."
I think there's some of that going on. But, meanwhile, another thing that's been going on all along is people playing "story games" very much like they played any other RPG. Something happens in a game, and immediately the player responds because "that's what his character would do." Well, awesome! That self-consciousness stuff just doesn't develop.
I think I'm repeating everyone here on everything. Oh well.
Zac in VA says:
I'm with Eero - the mechanics should support that; if they don't, then chances are good that they'll actively oppose that goal of "story now!", in favor of some other design goal.


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SunSHIFT announced as Energy Tech Winner in Latin American Accelerator Program
Full announcement available here
Industry leading innovators battled it out with pitches to a panel of eminent judges in Santiago, Chile. The Judges, drawn from BHP, Engie, CSIRO and Vantaz Group, heard pitches from the Program Finalists before asking questions on key aspects of their Market Entry Plans.
The Program is focused on technologies that drive efficiency and productivity in the four sectors that are common to both Australia and Latin America: agriculture, energy, mining and water.
The pitching event was hosted by Startup Chile and was the climax of a six month mentoring Program. During the Program, the companies have worked with mentors in Australia and Chile and explored the best way to ensure success in the Latin American market.
The companies were welcomed to the event by Rocio Fonseca, Executive Director of Startup Chile, and by the Australian Ambassador to Chile, Robert Fergusson.
Building on the seven years of successfully growing Australian technology businesses, this inaugural program has been launched to connect Australia to the rapidly growing markets of Latin America. 2019 will see the Program grow its presence with innovative technology companies also travelling to Australia to help with market entry in both countries.
After lengthy debate on which companies would have the best chance of success in Latin America, the Judges emerged to announce the Winners in each Award category. SunSHIFT was announced as the Energy Tech Winner.
The Program is supported by the Australian Government through the through the Council on Australia Latin America Relations (COALAR) and was delivered by Australian CleanTech. The Program design is based on the highly successful Australian Technologies Competition that has mentored 200 emerging Australian technology companies over seven years. Many of these companies are now thriving both at home and in export markets.


text:
require "test_helper"

class LoadErrorTest < Minitest::Test
  include HumanistErrorsSupport

  def test_message_for_missing_file
    assert_error_map("no such file to load", :load_error, :no_file)
  end
end


Components - Body : Grey Cast Iron - Detonator : No. 8 M1 - Charges : TNT Powder.
Packing Inner packing - 1 Hand grenade in a plastic box - 12 detonators in a plastic box Outer Packing 12 plastic boxes of hand grenade and 1 plastic box of detonator sealed in an alumunium bag and then placed in a wooden case.


You start with a sheet of white paper. How do you make it sing?Don't start out painting your most important shapes. Bring the out with negative painting. Look at the areas next to the white or light shapes. That is where the real work is. Like backroom politicians, most of our hard work is not noticed, while the white paper we started with and have barely touched gets all the attention.
Examples? Here is a part of my studio wall in the summer several years ago.
The final version of Tulips on Chillberg Road, on top,you can see in the home page slide show. Madronna Cliff on the upper right is in Island Scenes on the Gallery page. Compare the paintings above to the final ones — and note all the negative painting, that focuses on the most important tulips and branch (with saved whites on each).
The lilies are the strongest painting on the wall. Why? They have strong negative darks.
The boy in the lower left is the start of Summer Promise and is an example of setting a shape against the white of the paper (the opposite of negative painting). This can be a good choice on occasion.
However, the upper left rooster is darker that the surrounds. The color looked great when it was going on but when it dried it was dull and heavy. The best thing about the painting was the light behind the rooster's head. In the trash!
Let's look at the painting in the lower right. It is the start of The Hammock Beckons. The first wash is already setting up the warm tones in the madrona trunks, and the lighter foliage on the left, carving them out, pushing them forward. The far right will be set back.
When you look at the final version, you can see the many different kinds of negative painting tht created the masses of foliage, the branches, the hammock, the water pulling away from the edge of the rocks, and the lost and found trunks in the distance.
Some is easy to do — like filling in the holes in the hammock. But when you want the edge to disappear there is a trick with the amount of water on your brush that you need to master.
When you start negative painting, you are drawing with your brush on the outside of the shape as you see in the first example on the left. It is VERY important to have enough water in your brush. In the image on the right, as I start to turn green paper into leaves, you can see how wet the stroke is. You need this to have the color migrate away from the edge.
On the 2nd circle on the left you see an overlapping stroke that went in with LESS water that the first. Since water wicks from a wetter area to one less wet, the color moves out gradually. Make sure you like the shape of this negative color. You may want to adjust it a little, tinting some of the damp area.
On the third stroke (or it could be the 4th) you want to rinse your brush COMPLETELY, getting all the color out of it. Blot the rinsed brush on tissue and overlap your last stroke pulling the water away, making certain no color follows. If it does, like mowing grass, overlap the edge of the last stroke — clean water, blotted brush — and fade it out until there is no edge.
Here is the process again: the first stroke, loaded with water; the second stroke less wet and sucking the green away from the fruit; finally no outer edge.
It's a slow process. When you are negative painting, put your painting up frequently and look at it from a distance.
I will finish with a few more examples: the seamlessness of three glazes (wet on wet) on the thistle painting and the difference between Ruby my Dear, at the end of the first day on location and when it was finished.
In Ruby, notice how the deep color where the petal tucks into the flower moves out to pure white paper, indicating bright sunlight. To achieve this, the technique is exactly the same as described with the apple leaves.
Start looking at paintings and asking yourself, how did the artist get me so see that shape? The answer is usually by what was done NEXT TO IT.
It's like learning to back a trailer. You have to keep trying and "thinking negative" and it will come with a click of the brain, you'll "get" it.
Remember to watch your outer edges. Be sure no color makes it to the edge or you will have a new negative shape.
Watch your ratios of water, always getting less. And enjoy pushing your light shapes toward the viewer as you take care of the negatives.


Souzoukakia is delicious dish – the mince just melts in your mouth. No need for a knife and fork as its very soft and creamy. What I like about this dish is that you don't have to work hard to get it full of flavours. Most of all, this dish reminds me of Italy (for its colour) Spain (for the sauce) North Africa (from the cumin), and Greece (because I can taste the olive oil and cinnamon) After all its does originally come from Greece.
Greek cuisine has a special place in the cookery of the world. The flavours can alter with the seasons, and depending what part of Greece or the Greek Islands the food is being prepared in, the dishes can be quite different to other similar ones prepared elsewhere.
Greek cookery came long before Western cuisine, spreading its culinary influence – via ancient Rome – throughout the rest of Europe and worldwide.
I love Greece – the food is so beautiful, I have to say. They cook a lot with oregano although not in this dish. The first time I ever ate this dish was in Rhodes, with stuffed tomatoes – the two go really well together I think. You can find my recipe for Stuffed Tomatoes and Peppers here.
I enjoy making this for my friends when they drop in, and it also makes a great family dish too.
Put all the ingredients, apart from the flour, in a deep bowl, and mix well.
Take one tablespoon of the mixture and put on the palm of your hand and shape as a sausage - continue until they are all done. Now take the shaped sausages and roll in flour and keep aside for frying.
In a deep pan heat up the oil and fry the shaped sausages until they are slightly brown.
Put all the sauce ingredients in deep wide lidded pan and boil for 5 mins Add the souzoukakia and simmer for 25min or until you can see the oil forming at the edge of the pan.
Serve with stuffed tomatoes or peppers - you'll find the recipe for these here.


text:
About The AIOTA
The All India Occupational Therapists' Association (AIOTA) was founded by an American lady Mrs. Kamala Vishnu Nimbkar nee Elizabeth Lundy in the year 1952. She was its Founder President and held this office till 1959. AIOTA is also one of the Founder Council Members of the World Federation of Occupational Therapists (WFOT) (http://www.wfot.org) which too came to existence in 1952. The AIOTA is registered under Bombay Public Trust Act, Bombay on 29th June 1955, vide Registration No. E-1118 (Bom.) On 14th November 1950, the First OT School in India and Asia imparting Diploma Program was inaugurated by Union Health Minister Rajkumari Amrit Kaur, at King VII Edward Memorial Hospital, Mumbai with Mrs. Kamala Vishnu Nimbkar as its Honorary Director. This program was accredited by the AIOTA in 1952 and was approved by the WFOT in the year 1954. Many students from Sri Lanka, Malaya, Indonesia and other south east countries were educated at this center and spread the word of Occupational Therapy (OT) in Asian region. Please visit http://www.aiota.org for more details about the AIOTA.
Occupations refer to the everyday activities that people do as individuals, in families and with communities to occupy time and bring meaning and purpose to life. It includes things people need to, want to and are expected to do. Occupational Therapy is thus an applied science of the modern health care system based on scientific reasoning that enhances ability of client to participate in purposeful occupational tasks. Occupational therapists believe that participation can be supported or restricted by the physical, affective or cognitive abilities of the individual, the characteristics of the occupation, or the physical, social, cultural, attitudinal and legislative environments. Therefore, occupational therapy practice is focused on enabling individuals to change aspects of their person, the occupation, the environment, or some combination of these to enhance occupational participation. Occupational Therapy helps individuals, families, groups, communities, organizations, or populations to develop strategies and opportunities to maximize the engagement in one's 'occupations' includes things people need to, want to and are expected to do according to their living context. Occupational Therapists use a scientific approach based on evidence and clinical reasoning for their decision-making process.
Occupational Therapists serve all age groups and every condition/ pathology that may cause or pose a risk to limit "occupational" (human) performance. They have well-established clinical roles globally. In contemporary work environments, occupational therapists are often members of multiple teams, which may include other occupational therapists, health professionals, and/or non-health professionals. They work within a multicultural society, remaining cognizant of their own cultural values whilst also striving to understand and respect the particular cultural context of their clients.
The AIOTA is regularly organizing annual national conferences with international participation in different regions of the country to update members on recent advances and research in the areas of vivid interest. The first such national conference was organized in 1953 at Mumbai, Maharashtra, India.
Academic Council of Occupational Therapy (ACOT) of the AIOTA founded in 1983, is an authorized key academic body of the AIOTA, constituted to maintain the minimum standards of Occupational Therapy Education in India, as required by the WFOT and academic uniformity in education in India. ACOT is responsible to accredit Occupational Therapy education programs in India with the laid down procedures, issues certificate of registration to practice Occupational Therapy in India, conduct academic courses and Continued Occupational Therapy Education (COTE) Programs to update members with recent advancements. It also develops undergraduate & postgraduate syllabus and promotes research in occupational therapy across India.
The first issue of The Indian Journal of Occupational Therapy (IJOT), an official publication of the AIOTA was published in 1955 and since 1956 with ISSN to date, with Print ISSN No.: 0445-7706. The first journal was published in 1955 before ISSN registration. The IJOT now developed as a peer reviewed journal, indexed/abstracted in many national & international databases, is mandated to publish original scientific research papers, review papers, case reports and preliminary articles on all aspects of occupational therapy. It was registered in 1957 with Office of the Registrar of News Papers of India vide Registration No. 1653/57 with Mrs. Kamala Nimbkar as its first Editor. The abbreviated key title for citation is Indian J. Occup. Ther. Please visit: http://www.ijotonweb.org and http://aiota.org/publications/ljot for more information about the IJOT. For online submission/review on online management system please visit the Wolter Kluwer - Medknow's IJOT's journal on web (JoW) site: http://www.journalonweb.com/ijoth/
The Indian Journal of Occupational Therapy, a publication of The All India Occupational Therapists' Association, is a peer-reviewed print + online Quarterly journal. The journal's full text is available online at http://www.ijotonweb.org. The journal allows free access (Open Access) to its contents and permits authors to self-archive final accepted version of the articles on any OAI-compliant institutional / subject-based repository.
Abstracting and Indexing Information
The journal is registered with the following abstracting partners:
Baidu Scholar, CNKI (China National Knowledge Infrastructure), EBSCO Publishing's Electronic Databases, Ex Libris – Primo Central, Google Scholar, Hinari, Infotrieve, National Science Library, ProQuest, TdNet, Wanfang Data
The journal is indexed with, or included in, the following:
Indian Citation Index
Wolters Kluwer and Journal/Association are committed to meeting and upholding standards of ethical behavior at all stages of the publication process. We follow closely the industry associations, such as the Committee on Publication Ethics (COPE), International Committee of Medical Journal Editors (ICMJE) and World Association of Medical Editors (WAME), that set standards and provide guidelines for best practices in order to meet these requirements. For a summary of our specific policies regarding duplicate publication, conflicts of interest, patient consent, etc., please visit www.Medknow.com/EthicalGuidelines.asp
Open Access Publication and Creative Commons Licensing
This is an open access journal, and articles are distributed under the terms of the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 License, which allows others to remix, tweak, and build upon the work non-commercially, as long as appropriate credit is given and the new creations are licensed under the identical terms.
Wolters Kluwer Medknow provides for long-term digital preservation through two primary partnerships, Portico and CLOCKSS.
Portico is a leading digital preservation service worldwide. The content is preserved as an archival version and is not publically accessible via Portico, but is provided when required under specific conditions, such as discontinuation of the collection or catastrophic failure of the website.
CLOCKSS will enable any library to maintain their own archive of content from Wolters Kluwer Medknow and other publishers, with minimal technical effort and using cheaply available hardware.
Ahead of Print policy
Articles published online under the Ahead of Print model are considered published and can be cited and quoted using the DOI as the reference source. Wolters Kluwer Medknow has a policy that changes will not be made after publication of an article without following accepted procedures for making corrections to the scientific record.
While advertisements are crucial to this journal to be able to keep all content free for everyone, ethical considerations are in place to ensure the integrity of the journal and its content:
"Pop-up" and "banner" ads appear on a random, rotating basis. The advertiser has no control or input over the pages where their ads appear.
The Editorial Board has full and final approval over the content of all advertisements.
Advertisers will never be shown any manuscripts or other content prior to publication.
The Scope of the journal
The journal will cover technical and clinical studies related to health, ethical and social issues in field of occupational therapy. The Indian Journal of Occupational Therapy (IJOT) publishes original scientific research papers, review papers, case reports, preliminary articles, and letters to the editor, editorials, guest editorials, and conference abstracts, on all aspects of Occupational Therapy. .Articles with clinical interest and implications will be given preference.
Medknow Publications
© The Indian Journal of Occupational Therapy | Published by Wolters Kluwer - Medknow
Online since 6th November 2018


Backing up is prohibited on controlled-access roadways.
An example of a controlled-access roadway includes any tolled facility in Georgia such as the I-85 Express Lanes or the reversible I-75 Express Lanes. Tolled lanes in Georgia require motorists to mount a registered Peach Pass transponder in their vehicle in order to access the lanes. Peach Pass can also be used in Florida and North Carolina. Registered owners of the vehicle that enters the tolled lane without an active Peach Pass will receive a violation notice in the mail.
You are prohibited from entering the reversible Express Lanes when the access control gates are closed or closing.
The driver of any motor vehicle, when traveling down a hill, must not coast with the gears or transmission of the vehicle in neutral.
Reckless driving is defined as driving any vehicle in reckless disregard for the safety of persons or property. Examples of reckless driving include but are not limited to speeding, weaving in and out of traffic, improperly passing, etc. Penalties for reckless driving can include a fine of up to $1000, imprisonment for up to 12 months, and, if the driver is under 21 years of age, conviction will result in a suspension of all driving privileges.
When one or more persons compete in a race against time.
In Georgia it is unlawful to drag race. The penalties for committing this violation may include imprisonment and fines, and all driving privileges will be suspended if you are convicted.
Examples of aggressive driving include but are not limited to tailgating, cutting in front of another driver, blocking other drivers from passing or changing lanes, etc.
The penalty for committing this violation may include imprisonment, fines, and, if the driver is under 21 years of age, conviction will result in a suspension of all driving privileges.
Holding or supporting, with any part of the body, a wireless telecommunications device or stand-alone electronic device.
Writing, sending or reading any text-based communication, including a text message, instant message, e-mail or internet data.
Watching, recording, or broadcasting a video or movie.
The driver of any vehicle, other than one on official business, must not follow any fire fighting apparatus traveling in response to a fire alarm, or other emergency vehicles, closer than 200 feet, or park any vehicle within 500 feet of any fire apparatus stopped in answer to a fire alarm.
Trailers wider than 8 feet, 6 inches are not permitted on Georgia's highways.
Riding in a house trailer, or any other vehicular drawn trailer, is not allowed while it is being moved upon a street or highway. There is a high likelihood of injury or death if passengers are unrestrained in the trailer and the vehicle is involved in a crash or the trailer becomes disconnected from the vehicle.
It is unlawful to drive across a dividing section, barrier, or unpaved strip which separates two roadways at any point other than at an authorized opening or crossover.
It is unlawful to operate a motor vehicle while wearing a headphone, headset, or any other device which would impair the driver's ability to hear. Also, the driver must not wear anything which would obstruct his or her vision while driving a motor vehicle. Not only is wearing these devices illegal, it is also unsafe.
If a vehicle is overloaded with passengers or freight so as to obstruct the view of the driver or interfere with the mechanical operation, it cannot be legally driven. Passengers must not ride in a position that interferes with the driver's view or his or her control of the vehicle.
Opening the doors of a vehicle on the side on which traffic is moving is prohibited unless it is safe to do so and unless it can be done without interfering with the movement of other traffic, including bicyclists that may be operating close to the lane of parked cars.
Unless directed to by a traffic control device, authorized emergency personnel or construction workers, it is unlawful for a vehicle to be driven contrary to the direction posted on a one-way street or highway, except in situations where police vehicles or authorized emergency vehicles find it necessary to do so.
When stopping or slowing down suddenly, the proper hand, arm, or brake operated stop signal must be given.
Use high-beam headlights only when driving in rural areas and when other cars are not nearby. You must use your headlights between one-half hour after sunset to one-half hour before sunrise; at any time when it is raining; or when visibility is limited.
Your vision is reduced to less than 200 feet.
Because of decreased vision at night and the glare of oncoming headlights, night driving presents its own unique challenges. Unfamiliar roads and unexpected situations are more likely to cause hazardous driving conditions. You can help ensure safe driving in several ways.
Do not stop on the roadway.