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text:
Crac des Chevaliers and Qal'at Salah El-Din
(Syrian Arab Republic)
Management activities
Destruction and damage due to the armed conflict
Lack of definition of the properties and of the buffer zones
Lack of conservation and/or management plans
Inappropriate restoration works
Urban encroachment
Exploitation of quarries within the perimeter of World Heritage properties
Threats for which the property was inscribed on the List of World Heritage in Danger
Destruction and ascertained as well as potential threats consequent to the armed conflict in Syria started in March 2011
UNESCO Extra-Budgetary Funds until 2014
2.46 million Euros by the European Union
200000 USD by the Arab Regional Centre for World Heritage in Bahrain
170000 USD by the Flemish Government
Total amount approved : 35,000 USD
2003 Préparation du dossier d'inscription du Crac des ... (Approved) 20,000 USD
1998 Nomination of Crusaders castle (Approved) 15,000 USD
Since the start of the conflict in March 2011, the security situation has not allowed any missions to be undertaken to the Syrian World Heritage properties.
The Crac des Chevaliers was occupied by armed groups since the summer of 2013; around three hundred persons were posted within the property; during this period, the media reported several bombardments of the property.
On 28 January 2014, the State Party submitted a state of conservation report of all cultural heritage sites in Syria including the six World Heritage properties; the report, available at https://whc.unesco.org/en/list/1229/documents,referred to information from social networks only. It indicated that in the Crac des Chevaliers, the south-east tower was bombarded and a vault in the Soldier's Hall collapsed, in addition to other damages including in the mosque (the former chapel); it also indicated that no damages have been recorded in Qal'at Salah El-Din.
On 20 March 2014, the Syrian government gained back control over the property. On 25 March 2014, the Directorate-General of Antiquities and Museums (DGAM) undertook a field assessment mission and published a damage assessment report with pictures on their website, listing the following damages (the names used in the damage assessment do not fully correspond to the ones used in the Nomination dossier):
"The total destruction of the main staircase inside the Crac des Chevaliers.
Partial damage of the Hall of the Knights' main façade.
Damage to the decorations and arches of the Hall of the Knights.
Traces of fire behind the Church.
Damage in the Library hall opposite the Leader's Tower, and of the staircase leading to the roof of the Library Hall.
Damage of the façade of the King's Daughter tower.
Partial destruction in the wall located between the King's Daughter tower and the roof of the Church.
Partial destruction at the entrance to the stairs in front of the Qalawun tower; damage and destruction of the tower itself.
Damage in one wall of the warehouses next to the main offices overlooking the courtyard.
The partial destruction of a pillar supporting the ceiling of the Library Tower opposite the Tower of the Knights.
Severe damage in the office of the Ottoman House as well as the administration offices.
Partial damage and destruction of some walls in several unspecified locations.
Minor damage in the outer wall of the castle".
The DGAM is preparing a detailed state of conservation report of the Crac des Chevaliers and an action plan for its conservation. The World Heritage Centre will organise end of May 2014, in collaboration with ICOMOS and ICCROM, a technical meeting dedicated to the Crac des Chevaliers to advise the State Party on the protection measures of the property from further damage and on emergency consolidation and conservation actions.
General Decision on the World Heritage properties of the Syrian Arab Republic
Current conservation issues
The armed conflict in Syria started in March 2011 and has constantly escalated leading to significant violence and degradation of humanitarian conditions. Since the 37th session of the World Heritage Committee in 2013, the destruction of Syria's exceptional archaeological, urban and architectural heritage has risen significantly and has continued to affect all six inscribed properties as well as the twelve sites inscribed on the Tentative List.
The State Party has sent two letters to the Director-General of UNESCO, dated 4 December 2013 and 6 March 2014, to express the concern of the Syrian authorities about the destruction of cultural heritage and requesting UNESCO's assistance. The UNESCO Director-General has issued several appeals calling on all parties to the conflict to stop the destruction of cultural heritage and to refrain from using cultural heritage sites for military purposes. She also requested the countries bordering Syria to reinforce the fight against the illicit trafficking of Syrian cultural property and wrote to the members of the UN Security Council ahead of the Geneva 2 conference in January 2014 to plead for the protection of Syrian heritage and for an international ban on trade in Syrian cultural objects. She reiterated this again in February 2014 to draw attention to the danger of the use of cultural heritage sites for military purposes in Syria, in respect of international obligations of all parties involved in the conflict, notably the 1954 Hague Convention for the protection of cultural property in the event of Armed Conflict, and in consistency with customary international humanitarian law. On 12 March 2014, the Director-General also issued a joint statement with the UN Secretary-General, and the UN and Arab League Special Representative on the situation of cultural heritage in Syria.
These efforts have led to a greater awareness of the destruction of cultural heritage in Syria at the level of the United Nations and to the adoption of resolution 2139 by the Security Council on 22 February 2014, which "calls on all the parties to immediately […] save Syria's rich societal mosaic and cultural heritage, and take appropriate steps to ensure the protection of Syria's World Heritage Sites".
On 28 January 2014, the State Party submitted a state of conservation report of all cultural heritage sites in Syria including the six World Heritage properties; available at https://whc.unesco.org/en/sessions/38COM/documents.
This report represents an official statement from the Syrian authorities and collates available information from the branches of the Directorate General of Antiquities and Museums (DGAM) and from social media. However, it notes that ground access in Syria is extremely limited for heritage experts, and the full extent of the damage to World Heritage properties cannot be assessed in detail at this time. Therefore, the report does not provide first-hand information on several sites, in particular the Old City of Aleppo and the Ancient City of Bosra, to be able to gauge the extent of damage to the properties. For the preparation of the state of conservation reports, additional information was sought from civil society organisations, international organisations, local experts and the media to supplement official data.
The State Party highlighted the destruction and identified damages at the World Heritage properties due to their use for military purposes and as military training areas, and from direct shelling, targeted explosions, extensive illicit excavations, intentional destruction, construction violations, and temporary human occupation. The report also stresses the positive role of local communities to safeguard heritage and fight illegal excavations. It stresses the day-to-day work carried out by the Directorate General of Antiquities and Museums, within the existing limitations, to assess the damage, monitor the World Heritage properties and undertake emergency conservation and risk mitigation actions whenever possible.
Actions implemented by the Advisory Bodies and UNESCO
Since the 37th session of the World Heritage Committee (Phnom Penh, 2013), UNESCO has intensified its activities to monitor the situation of Syrian heritage, raise awareness on its protection, and undertake emergency actions to safeguard it. On 29 August 2013, the UNESCO Director-General convened a high-level technical meeting with the participation of the UN and Arab League Joint Special Representative, the Director-General of the DGAM, ICOMOS, ICCROM, ICOM, Interpol, the World Customs Organisation and the European Union, where an Action Plan for the Safeguarding of the Syrian Cultural Heritage was adopted. Based on this Action Plan, UNESCO elaborated a project entitled "Emergency Safeguarding of Syrian Cultural Heritage".
Following Decision 37 COM 7B.57, which requested the Director-General of UNESCO to consider the creation of a Special Fund aimed at the conservation of the World Heritage properties in Syria, the World Heritage Centre successfully raised funds for the safeguarding of Syrian cultural heritage, including:
the European Union-funded "Emergency Safeguarding of Syrian Cultural Heritage" project (2.46 million Euros). Started on 1 March 2014 for a duration of 3 years, the project, which is implemented in partnership with ICOMOS and ICCROM, addresses the safeguarding of built, movable and intangible heritage, through awareness-raising, monitoring and damage assessment, capacity building and technical assistance;
the Flemish Government-funded project for the organisation of an International Experts Meeting on Syria and for Emergency Assistance Measures (170 000 USD); and
the Arab Regional Centre for World Heritage (Category 2 centre under the auspices of UNESCO) financial support to the World Heritage Centre for the safeguarding of Syrian cultural heritage (200 000 USD). Taking into account the experience of the Special Fund for Mali, it was concluded that earmarked projects provided more chances for successful fundraising than the establishment of a Special Fund.
The World Heritage Centre has maintained regular communication with the DGAM and heritage specialists throughout Syria to document the situation on the ground and assist where possible, and has worked with the UNESCO staff in charge of the 1970 Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, and Interpol to fight illicit trafficking and block illegal selling of Syrian cultural property on a day-to-day basis. Since October 2013, the World Heritage Centre has engaged with national and international professionals working on Syrian heritage to map and coordinate international efforts, and to avoid duplication of activities; it also elaborated Damage Assessment Sheets that are regularly filled-in by heritage professionals in Syria to document damage, and established the following webpage dedicated to Syrian Cultural Heritage :
http://www.unesco.org/new/en/culture/themes/illicit-trafficking-of-cultural-property/emergency-actions/syria/.
The World Heritage Centre also organised, at the request of the State Party, an emergency meeting with ICOMOS, ICCROM and Interpol, to provide technical recommendations and risk mitigation measures for the Old City of Damascus. Another such meeting is foreseen in May 2014 for the emergency measures to protect the Crac des Chevaliers.
UNESCO is also organising an International Experts Meeting for the Preservation of the Syrian Cultural Heritage (26-28 May 2014) and actively fundraising for further actions to protect World Heritage properties and the sites inscribed on Syria's Tentative List. Finally, UNESCO has also sounded the alarm on the destruction of Syrian heritage at numerous occasions in the media and through press conferences at UNESCO and the UN Headquarters in New York.
ICOMOS and ICCROM have contributed to awareness raising regarding the state of cultural heritage in Syria through several releases on their web pages and participation in international experts meetings. They also held, in cooperation with the DGAM, a new e-learning course for the protection of cultural heritage in Idlib Governorate, Syria, on 21 August 2013. This course follows on from an earlier course held in Damascus in January 2013. Course activities focussed on potential measures to safeguard and protect cultural heritage during conflict situations, and on first aid and emergency responses to damaged sites and collections. The course had over 100 participants, including DGAM staff and experts on cultural heritage, curators from Idlib Museum, and representatives of cultural heritage NGOs, as well as first aiders from the Red Crescent. ICOMOS and ICCROM are working on providing practical guidelines in Arabic and English for salvaging and securing damaged cultural heritage. Further documentation on the initiative is available at:
http://icomos.org/en/what-we-do/disseminating-knowledge/newsletters/649-protection-of-cultural-heritage-in-idlib-governorate-syria-icomos-iccrom-e-learning-course-for-syrian-cultural-heritage-professionals-in-times-of-armed-conflict
The ICCROM and ICOMOS Guidelines for First Aid Training courses were translated into Arabic by the ICCROM-ATHAR Regional Centre and shared with the DGAM to support their conservation actions.
Analysis and Conclusions of the World Heritage Centre, ICOMOS and ICCROM
The armed conflict situation in Syria and its continued escalation has affected the six World Heritage properties and has limited the capacities to adequately sustain and protect their Outstanding Universal Value (OUV). The properties are increasingly threatened by a specific and proven imminent danger, in particular the Old City of Aleppo which has been extensively destroyed and which runs the risk of further irreversible destructions, including its Citadel.
It is recommended that the World Heritage Committee commend the DGAM and all heritage professionals in Syria and local communities for their sustained efforts to protect cultural heritage and to monitor it closely.
The World Heritage Centre and the Advisory Bodies will continue to support the State Party in the identification of the necessary corrective measures and in the development of a Desired state of conservation for the properties, as soon as the situation allows for an assessment mission to be carried out.
Furthermore, it is recommend that systematic documentation of all damage incurred at the World Heritage properties be duly undertaken whenever the situation allows, and the World Heritage Committee may urge the State Party to safeguard damaged property through minimal first aid interventions to prevent theft, further collapse and natural degradation, and refrain from undertaking conservation work until the situation allows for the development of comprehensive conservation actions that respond to international standards.
Until conditions improve, It is further recommended that the World Heritage Committee call upon all parties associated with the conflict in Syria to refrain from any action that can further damage the heritage of the country, in particular World Heritage properties and all sites inscribed on the Tentative List, and to fulfil their obligations under international law by taking all possible measures to protect such heritage including the evacuation of World Heritage properties used for military purposes, and the halting of all damages that result from targeting World Heritage properties.
It is recommended that the World Heritage Committee also thank the European Union, the Flemish Government, and the Arab Regional Centre for World Heritage for their financial contributions for the implementation of the Action Plan for the Safeguarding of the Syrian Cultural Heritage. It is also worth bringing to the attention of the World Heritage Committee that earmarked projects have proven to be a successful fundraising strategy for the safeguarding of Syrian cultural heritage.
38 COM 7A.12
Having examined Document WHC-14/38.COM/7A.Add,
Recalling Decisions 35 COM 7B.58, 36 COM 7B.58, 37 COM 7B.57 and 37 COM 8C.1, adopted at its 35th (UNESCO, 2011), 36th (Saint Petersburg, 2012) and 37th (Phnom Penh, 2013) sessions respectively,
Deplores the conflict situation prevailing in the country, the loss of human life and the degradation of humanitarian conditions;
Takes note of the report provided by the State Party regarding the state of conservation of the six Syrian World Heritage properties and the 12 sites inscribed on the Tentative List and expresses its utmost concern at the damage occurred and the threats facing these properties;
Welcoming the contributions and efforts of States Parties who have already taken effective action, reiterates its appeal to the neighbouring countries and to the international community to continue cooperation in fighting against the illicit trafficking of cultural heritage coming from Syria;
Urges all parties involved in the conflict in Syria to refrain from any action that would cause further damage to cultural heritage of the country and to fulfil their obligations under international law by taking all possible measures to protect such heritage, in particular the safeguarding of World Heritage properties and those included in the Tentative List;
Also urges the State Party to adopt measures for the evacuation of World Heritage properties being used for military purposes;
Further urges the State Party to safeguard damaged property through minimal first aid interventions, to prevent theft, further collapse and natural degradation, and refrain from undertaking conservation work until the situation allows, for the development of comprehensive conservation actions that respond to international standards;
Reiterates its suggestions to the State Party to consider ratifying the Second Protocol (1999) of the 1954 Hague Convention for the Protection of Cultural Heritage during times of Armed Conflict;
Commends the Directorate General of Antiquities and Museums (DGAM), and all the heritage professionals and the local communities in Syria who are working on monitoring and protecting cultural heritage, for their sustained efforts amidst difficult conditions;
Requests the State Party to pursue the systematic documentation of all damage incurred by the World Heritage properties whenever conditions allow, to inform the development of the Desired state of conservation for the removal of the properties from the List of World Heritage in Danger and the identification of corrective measures for all six properties;
Recalls the request to UNESCO to establish a Special Fund for the conservation of World Heritage properties in Syria and welcomes the establishment of earmarked projects as an appropriate means to raise funds for the safeguarding of Syria's cultural heritage;
Expresses its thanks to the European Union, the Flemish Government and the Arab Regional Centre for World Heritage for their financial contributions to the earmarked funds;
Calls upon the international community to further support the safeguarding of Syrian cultural heritage through earmarked funds;
Also requests the State Party to invite, as soon as the security conditions allow, a joint World Heritage Centre/ICOMOS reactive monitoring mission to Syria to assess the state of conservation of the properties and elaborate, in consultation with the State Party, a prioritised action plan for their recovery;
Further requests the State Party to submit to the World Heritage Centre, by 1 February 2015, an updated report, including a 1-page executive summary, on the state of conservation of the property and the implementation of the above, for examination by the World Heritage Committee at its 39th session in 2015;
Decides to retain the Ancient City of Damascus (Syrian Arab Republic), on the List of World Heritage in Danger;
Decides to retain the Ancient City of Bosra (Syrian Arab Republic), on the List of World Heritage in Danger;
Decides to retain the Site of Palmyra (Syrian Arab Republic), on the List of World Heritage in Danger;
Decides to retain the Ancient City of Aleppo (Syrian Arab Republic), on the List of World Heritage in Danger;
Decides to retain the Crac des Chevaliers and Qal'at Salah El-Din (Syrian Arab Republic), on the List of World Heritage in Danger;
Decides to retain the Ancient Villages of Northern Syria (Syrian Arab Republic), on the List of World Heritage in Danger.
38 COM 8C.2
Update of the List of World Heritage in Danger (retained sites)
Having examined the state of conservation reports of properties inscribed on the List of World Heritage in Danger (WHC-14/38.COM/7A and WHC-14/38.COM/7A.Add),
Decides to retain the following properties on the List of World Heritage in Danger:
Afghanistan, Minaret and Archaeological Remains of Jam (Decision 38 COM 7A.14)
Afghanistan, Cultural Landscape and Archaeological Remains of the Bamiyan Valley (Decision 38 COM 7A.15)
Belize, Belize Barrier Reef Reserve System (Decision 38 COM 7A.31)
Central African Republic, Manovo-Gounda St Floris National Park (Decision 38 COM 7A.34)
Chile, Humberstone and Santa Laura Saltpeter Works (Decision 38 COM 7A.21)
Colombia, Los Katíos National Park (Decision 38 COM 7A.32)
Côte d'Ivoire, Comoé National Park (Decision 38 COM 7A.35)
Côte d'Ivoire / Guinea, Mount Nimba Strict Nature Reserve (Decision 38 COM 7A.36)
Democratic Republic of the Congo, Virunga National Park (Decision 38 COM 7A.37)
Democratic Republic of the Congo, Kahuzi-Biega National Park (Decision 38 COM 7A.38)
Democratic Republic of the Congo, Garamba National Park (Decision 38 COM 7A.39)
Democratic Republic of the Congo, Salonga National Park (Decision 38 COM 7A.40)
Democratic Republic of the Congo, Okapi Wildlife Reserve (Decision 38 COM 7A.41)
Egypt, Abu Mena (Decision 38 COM 7A.1)
Ethiopia, Simien National Park (Decision 38 COM 7A.43)
Georgia, Bagrati Cathedral and Gelati Monastery (Decision 38 COM 7A.16)
Georgia, Historical Monuments of Mtskheta (Decision 38 COM 7A.17)
Honduras, Río Plátano Biosphere Reserve (Decision 38 COM 7A.33)
Indonesia, Tropical Rainforest Heritage of Sumatra (Decision 38 COM 7A.28)
Iraq, Ashur (Qal'at Sherqat) (Decision 38 COM 7A.2)
Iraq, Samarra Archaeological City (Decision 38 COM 7A.3)
Jerusalem, Old City of Jerusalem and its Walls (Decision 38 COM 7A.4)
Madagascar, Rainforests of the Atsinanana (Decision 38 COM 7A.44)
Mali, Timbuktu (Decision 38 COM 7A.24)
Mali, Tomb of Askia (Decision 38 COM 7A.25)
Niger, Air and Ténéré Natural Reserves (Decision 38 COM 7A.45)
Palestine, Birthplace of Jesus: Church of the Nativity and the Pilgrimage Route, Bethlehem (Decision 38 COM 7A.5)
Panama, Fortifications on the Caribbean Side of Panama: Portobelo-San Lorenzo (Decision 38 COM 7A.20)
Peru, Chan Chan Archaelogical Zone (Decision 38 COM 7A.22)
Senegal, Niokolo-Koba National Park (Decision 38 COM 7A.46)
Serbia, Medieval Monuments in Kosovo (Decision 38 COM 7A.18)
Solomon Islands, East Rennell (Decision 38 COM 7A.29)
Syrian Arab Republic, Ancient City of Damascus (Decision 38 COM 7A.12)
Syrian Arab Republic, Ancient City of Bosra (Decision 38 COM 7A.12)
Syrian Arab Republic, Site of Palmyra (Decision 38 COM 7A.12)
Syrian Arab Republic, Ancient City of Aleppo (Decision 38 COM 7A.12)
Syrian Arab Republic, Crac des Chevaliers and Qal'at Salah El-Din (Decision 38 COM 7A.12)
Syrian Arab Republic, Ancient Villages of Northern Syria (Decision 38 COM 7A.12)
Uganda, Tombs of Buganda Kings at Kasubi (Decision 38 COM 7A.26)
United Kingdom of Great Britain and Northern Ireland, Liverpool – Maritime Mercantile City (Decision 38 COM 7A.19)
United States of America, Everglades National Park (Decision 38 COM 7A.30)
Venezuela, Coro and its Port (Decision 38 COM 7A.23)
Yemen, Historic Town of Zabid (Decision 38 COM 7A.13)
Draft Decision: 38 COM 7A.12
Launches an appeal to the neighbouring countries and to the international community to cooperate in fighting against the illicit trafficking of cultural heritage coming from Syria;
Urges all parties associated with the situation in Syria to refrain from any action that would cause further damage to cultural heritage of the country and to fulfil their obligations under international law by taking all possible measures to protect such heritage, in particular the safeguarding of World Heritage properties and those included in the Tentative List;
Criteria: (ii)(iv)
WHC-14/38.COM/7A.Add
SOC Report by the State Party

redpajama_set_name: RedPajamaCommonCrawl


text:
Club Notes: DubConscious hooks up with STS9
DubConscious
By Wendy Kale |
BOULDER, Colo. –
If you're going to put your CD out on an indie label, you want to go with the best.
That's why DubConscious chose to be part of Sound Tribe Sector 9's 1320 record label. Now the band's hitting Boulder to promote its new CD, NonViolent.
"We started DubConscious in Athens, Ga.," vocalist/guitarist Adrian Zelski said. "Athens is a town like Boulder — it's hard to leave. Bands like R.E.M. and Widespread Panic are from there."
DubConscious started attracting local college fans with its fusion of dub and reggae sounds. The band also adds a good dose of social and environmental awareness to its tunes.
The combination of the music and the message has allowed DubConscious to open for acts such as Michael Franti and Spearhead, Galactic, Ziggy Marley and STS9.
"We play a musical blend that focuses on American — not Jamaican — reggae," Zelski said. "This is definitely dance music with downtempo beats and some dub.
"Our songs all talk about empowering yourself."
The members of STS9 were so impressed they signed DubConscious to their 1320 label.
"I knew them before they were Sound Tribe — me and their guitarist Hunter (Brown) are good friends," Zelski said. "1320 is a boutique label that has artistic vision. They liked what we had and they had a good fanbase in place.
"It was very easy handshake deal."
Zelski is hoping the STS9 fanbase will be on board for DubConscious' environmentally friendly projects.
DubConscious tours with a vegetable-oil-powered van and the band's official T-shirts are made from organic cotton.
DubConscious also has included "seed cards" in the purchase price of its downloadable CDs.
"The seed cards come decorated with album art and they're printed with a download code," Zelski said. "After you download the music, the card — which is embedded with wildflower seeds — can be planted.
"Hopefully, people will grow the plants. This is a very functional album."
To add to the band's environmental push, copies of NonViolent are packaged with recycled cardboard and printed with soy ink.
"NonViolent has a wealth of new music and really shows off the identity of our band," Zelski said.
RED is a Christian nu-metal band.
The alternative-rock act is touring behind its 2009 CD, Innocence & Instinct, and RED shows off its new music at the Marquis Theater in Denver on Monday.
"We started this band out as friends," guitarist Jasen Rauch said. "We were all in different bands, but we decided to all join together. We're all Christians, but we're separate from a lot of typical Christian bands.
"We're fans of a bunch of different kinds of music, but we all love music that's heavy and has epic sounds. We like really heavy stuff, but we have that pop accessibility and hooks."
RED must be doing something right.
The band's debut 2006 CD, End of Silence, earned the Nashville band a Grammy nomination. The group's also had the chance to tour with A-list rockers Breaking Benjamin, Chevelle, Flyleaf and Puddle Of Mudd.
"We really try to be conscious of real-life issues in our songs," Rauch said. "We really want to connect with people.
"We were in a pretty serious car wreck a few years ago, and that experience just reminds us of how frail we are. We wanted to expand things with our new album. We wanted to have a humble approach, but we still wanted to project the rock genre."
The members of RED realize how tough it is to tour these days, so this band tries to give back to its fans.
"With the economy down, we're trying to do more headlining tours. That way, we can really reach out to the fans," Rauch said. "We want to really give them a pretty intense live show that's heavier and more aggressive than the record.
"We definitely step it up and entertain our crowds."
Club Notes blog
Be sure to stop by Wendy Kale's Club Notes blog for the latest on the local music scene and what's making waves nationally.
Wendy Kale
Front Range Stage: Frank Sinatra revue in Boulder, 'Odd Couple' coming to Longmont
Britney Spears responds to her sister's tell-all book in social media exchange
On display: Front Range art guide Jan. 14-20
A page of Spider-Man comic book history just sold for $3 million


text:
Q: GWT DateBox - Disable specific date I want to disable a specific date in my date box. I tried it with this code, but the specified date (current day) does not get disabled.
final DateBox dateBox = new DateBox();
dateBox.getDatePicker().addShowRangeHandler(new ShowRangeHandler<Date>() {

    @Override
    public void onShowRange(final ShowRangeEvent<Date> event) {
        List<Date> disabledDates = new ArrayList<Date>();
        disabledDates.add(new Date());
        dateBox.getDatePicker().setTransientEnabledOnDates(false, disabledDates);
    }
});

Is there an other way to do this?
Edit: Following the example of apanizo, the day 29.5 looks greyed out, but is clickable nevertheless.

A: Really sorry, I did not test the code of my last answer.
I have just tried and your code worked to me, the only thing that I did was pass all the dates that I do not want through the setTransientEnabledOnDates(false, dateToDisable); method.
Example:
public void onModuleLoad() {
    final DateBox dateBox = new DateBox();

    dateBox.getDatePicker().addShowRangeHandler(new ShowRangeHandler<Date>() {
        @Override
        public void onShowRange(final ShowRangeEvent<Date> dateShowRangeEvent) {
            final Date today = new Date(); //30 May 3014
            final Date yesterday = new Date(today.getTime()- 24*60*60*1000);

            //disabling yesterday - 29 May of 2014
            dateBox.getDatePicker().setTransientEnabledOnDates(false, yesterday);

        }
    });

    RootPanel.get().add(dateBox);

  }

If you want to disable the click event on a disabled date, this is a resolved and not delivered bug.
See:
https://code.google.com/p/google-web-toolkit/issues/detail?id=7876
I think in the GWT's 2.7 version it will be released, in the mean time you can patch it introducing in the line 77 of com.google.gwt.user.datepicker.client.CellGridImpl :
 addDomHandler(new ClickHandler() {
     @Override
     public void onClick(ClickEvent event) {
       if (isActive(Cell.this)) {
         setSelected(Cell.this);
       }
     }
  }, ClickEvent.getType());

In detail here

A: Simply add a value changed listener on date picker to listen for any change in the date.
For example if current date is not allowed and it's selected then simply discard the changes and revert back to previous date or show a warning message as well if needed and add style for current date to look it as disabled.
Here date time format is used to check for date only, time is discarded while checking dates.
Sample code:
private Date prevDate;
...

final DateBox dateBox = new DateBox();
final DateTimeFormat dateTimeFormat=DateTimeFormat.getFormat("MM/dd/yyyy");

dateBox.getDatePicker().addValueChangeHandler(new ValueChangeHandler<Date>() {

    @Override
    public void onValueChange(ValueChangeEvent<Date> event) {
        if (dateTimeFormat.format(event.getValue()).equals(dateTimeFormat.format(new Date()))) {
            dateBox.setValue(prevDate);
            // show warning message here
        }else{
            prevDate=event.getValue();
        }
    }
});

redpajama_set_name: RedPajamaStackExchange


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text:
Alive from Palestine
Memory as Identity
Three actors hold branches with leaves to suggest a forest, while another gently shakes a small tin thunder sheet and the fifth crumples a piece of plastic and whistles. Then amidst a cacophony of overlapping, and seemingly unrelated monologues, five actors standing in five lanes of light with a chair for each upstage shout portions of personal stories: "There was a white dove, alive! I have five tattoos! Get into the boat! Your marital status is under investigation!" They cross silently to pick up sweaters, cross upstage, put on the sweaters, and commence flailing about. Their arms are inside the sweaters around their waists as they attempt to wrap armless sweater sleeves around each other's necks or slap at each other in mock combat.
The group breaks and a woman (Shaden Kanboura) begins a story about being asked to dance at the Damascus Opera House after a long and brutal yet also exciting competition. Another actress, (Khulood Basel Tannous) begins to critique her performance—directing her in the moment—and a frustratingly funny exchange continues between them as the first is trying to tell the story and the second is trying to contain herself but returns time and again to comment, lift Shaden's head, or pull back her shoulders in a sort of simulated rehearsal meta-text.
We learn that the dancer received a phone call from her mother a few minutes before the performance in Syria, and that her father has been arrested:
SHADEN: What do you mean where am I? At the theatre. The show starts in a bit… Is something wrong?
KHULOOD: I'm sorry but I've got to stop you. Let's do this section like it's real, like she's just calling you now.
SHADEN: But he's telling the story after the fact.
KHULOOD: Let's just try it once. Do it for me. I'll call you like his mum is calling now. (She makes a noise like a Nokia phone ringing.)
Rather than focusing on the maudlin or sentimental, we see the events with perspective. This suggests one of the first themes of the night: memory as a prerequisite of identity.
The substitution of the gender pronoun "he" for "she," or "I," suggests this is not a story from the actor's life but someone else's. In the story the character's dilemma is whether the character's devotion to the father is best demonstrated in continuing with the performance or returning home to comfort the mother. The character decides to perform and finishes with the image of performing in front of an audience, but the only thing the character sees is the father. The sequence ends not with the a sentimental ending to the story but with the relationship between Shaden and Khudoora breaking down into an argument:
SHADEN: (From the story)…and then I realized, if there was anything I could do for my dad in prison, (Khulood presses Shaden's arms to her sides and pulls her head up. Shaden is frustrated but continues.) When I went out on stage, I didn't see the audience or the actors. I only saw my (Khulood pulls her head up again.) father.
Yes, Khulood! Pardon? What? A paragraph. Just a few lines! (Without a comment.)
HENRY: (who attempts to intervene): Can't you control yourself?
KHULOOD: I don't know why you're yelling.
SHADEN: Because, Khulood, I don't get what you want. What's the point of all these comments? I can't do it exactly like you want it. I'm sorry. As hard as I try, I can't. I'm not going to start looking like him.
The effect suggests a sub-dialogue between rehearsal process and performance that functions as a metaphor for the nature of remembered experience and its impact and sets up the evening where different versions of stories conflict or at times are conflated. Rather than focusing on the maudlin or sentimental, we see the events with perspective. This suggests one of the first themes of the night: memory as a prerequisite of identity.
Shortly after, Husam, who left the stage earlier with a suitcase, appears in a "cactus" jacket and asks for a hug. He is ordered offstage; a scene that is repeated occasionally throughout the play. Interestingly, Husam Al-Azza is the one actor who grew up in a refugee camp, and one wonders if the continuing rejection is related to this.
Shaden Kanboura and Henry Andrawes, Other Places. Photo by Habib Simaan and Khashabi Theatre.
Memory: Between Fictionalized and Remembered Experiences
This is the first of several sequences in the stunning new play by the broadly talented Al Khashabi Ensemble where we witness a series of profound, often absurdly profound, sequences, at times repeated with different endings and at times with a devolving self-conscious commentary on each scene that might suggest influences of Samuel Beckett, Bertolt Brecht, and sketch comedy but is built on the rich and ever original development of Palestinian theatre. The lack of exposition or explanation brings the audience immediately into the experience of the actor/characters (as in Beckett or Pinter) as they move between fully conscious moments of storytelling and inexplicable confusion about their status, or what is exactly happening. Conscious and unconscious meta-text abounds. A story of stone throwing at soldiers during an army incursion (Husam Al-Azza) in the Aida refugee camp is reworked by a sort of "liberation promoter" (Raeda Ghazaleh) to alter the story from the terribly funny conclusion of a boy accidently hitting the neighbor's son in the head with a stone meant for an Israeli soldier, to a mythic version of actually hitting the soldier. They repeat the story several times as the story is "corrected." The actor retreats to a tightly lit space with a live microphone (another form of meta-text) as we learn that when he went home he was slapped by his mother for throwing stones because his mother had already lost a son to suffocation by tear gas. As the play crosses fictionalized and remembered experience, a kind of condensation occurs in which a theatrical reality emerges that supplants and yet incorporates actual events.
Throughout the evening we witness stories from actors (and other workshop participants from other countries who did not remain with the project) who have lived through the Second Intifada that started in 2000 and years of occupation. A sort of accumulative displacement between time and space occurs in which a psychological reality and deconstruction of identity creates an absurd and yet material "Other Place." In this place Diaspora becomes internalized as a state of mind, while nevertheless rooted in the homeland. But one of the dynamics at work as described by director, Bahsar Murkus, is the presence of all those who participated in months of workshops whose identity remained in the "heart" of the play. One key element that persisted was this desire to find a way for them to be present—despite their absence. "How do you play absence?"
While never crossing over into political polemic, the reality of the occupation and the splintering of personalities into separate, or layered, and conflicting identities leaves us dazed by the collisions. A doctor wearing his white coat in a car is shot from a tank. A woman is shot by a sniper while going to buy milk. We hear these events told within a story by an actress (Raeda Ghazaleh) who sneaks her colleagues, one at a time, to and from rehearsal during curfew. At one point she confronts a tank whose gun barrel follows her car as she attempts to circumvent it without rousing suspicions that can turn lethal. And then we confront a man (Henry Andrawes) who cannot explain why he has a tattoo he doesn't remember, and in one of the most touching and hilarious scenes is told his name is Ziyad and not Henry. Several times in succession Henry and Khulood pretend chance meetings to practice greeting each other so he can remember his name. Markus takes note of this connection between memory and identity as something that is broken by trauma—physical, mental, or from geographical displacement. "What happens when we forget? You start from zero."
Husam Al-Azza and Raeda Ghazaleh, Other Places. Photo by Habib Simaan and Khashabi Theatre.
Palestinian Time: Waiting as a Lifestyle
Raeda Ghazahleh continues with a story about the hours of waiting she must endure while attempting the most basic of normative life tasks, such as taking the kids to school, going to and from work from Jerusalem to Ramallah. Tasks that add years of waiting over a lifetime. As the cast is indicative of how the occupation has been manifest for 50 years, since 1967, we grasp that entire lives, from childhood to aduthood are experienced entirely within a lifestyle of waiting: waiting at checkpoints, waiting for a political solution, waiting for some set of benign international forces to understand their experience and that the occupation controls their every move.
Separated by Geography
Geographical separation is another force that works on Palestinian identity that underscores the play. In one scene a Palestinian resident of Haifa (Shaden) travels for the first time to Ramallah. We learn the logistics of traveling from Haifa by bus to Jerusalem central station, then another bus to the Palestinian bus station by the Jerusalem Hotel, and then a third bus to the West Bank city of Ramallah. She successfully auditions for a role in a play and is excited to stay in Ramallah for three months. But when attending the opening of a dance festival, the audience is welcomed and asked to stand and sing the Palestinian national anthem. As she graduated from Haifa University, she only knows the Israeli national anthem. She mimics the others but doesn't really know what to do, as she laughs and cries simultaneously. Even as she picks up the tune, she doesn't know the words.
While time, memory, and geography seem to be the forces that effect identity in Other Places, these actors confront the absurdity of their experience in remarkable, human terms and with a combination of clarity and disorientation that is alternately terribly funny and deeply painful.
Shaden Kanboura, Husam Al-Azza, Raeda Ghazaleh, Khulood Basel Tannous, Other Places. Photo by Habib Simaan and Khashabi Theatre.
Reconstructing Identity and Memory
Throughout the evening we return regularly to Henry Andrawes who seems confused and at times panicked by everything that is happening around and to him. Early on he tells a story about going to a kibbutz with his father who is working as a mental health nurse. It starts clearly enough, with a description of the building, the "cold" tiles, a lamp and vase of flowers, white lights. He abruptly stops in a moment of confusion that intensifies to a breakdown as we hear a loud hum and lights pulse that are placed around a square space that defines the stage. He can't continue. Later he can't remember why or how he came to have a tattoo on his arm. He is taught to breath into a bag and count to ten, and directed to practice swimming under water and to tread water when he gets tired.
Henry continues to wander throughout the space as though discovering its elements for the first time. He attempts to reconstruct identity or memory from bits of what has been said by other actors. We wonder if he has forgotten who he is, is he being "taught" the story of Ziyad, someone absent but becoming present gradually as the play continues. It's as though he is like a child constructing an identity from what he hears around him, as Bashar Markas alluded to: starting from zero. In some ways, Ziyad emerges as the only real "character" in the play, the spine of it as it were, as the other actors perform material taken from their own experiences.
An older woman (Shaden Kanboura) made up with a clown face and using a crutch nearly falls while trying to pick up a key she has deliberately dropped. When Henry/Ziyad attempts to help, she throws handfuls of keys across the floor. Each time he tries to pick them, she throws another handful in another direction. He inserts details from previous scenes into scenes that follow. His existence itself and the anxiety he suffers seems to simply be, perhaps the ravages of a mental breakdown or some unseen malady that disconnects bits of memory and reconstitutes them into present confusion. As the other character/actors are clear about their past and present in the moment, Henry is an organic counterpoint —or counterweight—that the others seem to clearly care about but cannot quite reach. When it becomes his turn to go to the microphone, something each actor does at least once during the evening, he is visibly unsure what to say. He quietly repeats the noises he remembers from a previous sequence about war—the sound of a missile, the sound of a gunship—as we listen to the magnificent ballad by Lebanese singer, Wadih Al Safi: Oh Bird, I Will Make You Swear by the Tree Branch.
A silent piece of physical theatre follows that illustrates how occupation creates patterns that are learned and engrained into behavior. Husam Al Azza is offered a drink of water on a table. As he approaches, Raeda Ghazaleh stops him and directs him upstage. This sequence is repeated several times, as Al Azza is stopped and directed upstage again. On each turn he is gradually rendered immobile, first taped across his ankles so he has to take little steps. Then he is taped across his hips and arms so he has to hop across the stage and can only pick up the cup with his mouth. Finally his mouth is taped, so he can't drink. When the tape is removed, he continues hopping as though he remains hobbled and bending toward the cup to drink out of habit.
Creating the Palestinian Experience
The production is complex, theatrically rich, and cannot be confined to these pages as its reach across subjects is vast with a number of sequences that seem to add up to the accumulated Palestinian experience of Diaspora and conflicted identity, whether they are from Haifa, Jerusalem, the West Bank, or the Azza refugee camp.
These potent [personal] stories give way to images, that while at times unexplained, add up over time, as though an initial moment of confusion becomes a prophesy.
During her moment at the microphone, Khulood Basle Tanous offers a moment of particular lyric beauty as she recites the poem, "Never Fall in Love with a Refugee." The often used perception of political drama holding the intersection of the personal and political simultaneously certainly applies, but the form and structure of the play transcends the often used developmental technique of using personal stories as the basis for a play's dramaturgy. These potent stories give way to images, that while at times unexplained, add up over time, as though an initial moment of confusion becomes a prophesy. Bashar Murkus, Ala Hlehel, and this ensemble bring together the series of forces at work on individual and collective identity that collide organically often producing what Murkus calls, "trap doors" for the audience to fall through and absorb. It is original, and utterly authentic.
At the end, "Ziyad" is again swimming as he was taught by Raeda, treading water. He says:
I am Ziyad. I am swimming in the sea and the water reaches my neck. It's not that cold. I can see the sky… in the distance. I'm very patient.
HUSAM: (Dressed in cactus jacket.) Give me a hug.
ZIYAD: I love my country. I love our house and my family. I have a lot of dreams for the future, I want a house of my own, that I'll have the key to.
HUSAM: Give me a hug.
ZIYAD: I want to have a little family I really love, with a boy and two girls, maybe.
Or two boys and a girl. Either way, I want a girl. I need to decide. I'd love to have a daughter who looked like me.
ZIYAD: And if one day there's no milk in the house. I'll go out to buy some from the shop nearby. Milk for when we sit down together as a family for breakfast, I'd like that. I'd like to study something that I'd enjoy doing as a job later on, but what exactly I need to decide. I don't like waiting a long time. And I like having real friends beside me. Friends who will always be nearby who will call me and suggest we meet up in the town square….
…I'd like the sofas in my house to be brown maybe or green. I need to decide. And lots of things.
I'm a bit scared of death.
And if I die I want to turn into a boat.
I need to decide.
So ends this provocative and layered evening with the image of a man floating in the sea, imagining his life but simultaneously projecting a state of mind, as though we are all trying not to drown. While at multiple moments we are offered content— that is narratives of real experiences, at others the play moves into another world—a world of metaphor, image, and loss.
The production design gives the space a theatrical and yet poetic shape. In what seems a close collaboration between Majdala Khoury and Firas Tarabashi, the space is defined with series of light bulbs into a square. A group of metal tables are used for both function and to affect an image. Vertical strip lights transform the space into a kind of expressionist game show. Physical theatre mixes with direct narrative; and confusion mixed with the concrete reality of numbers written on the blank black back wall like a huge blackboard. The stage moves from a formal shape into a visual and dramatic state of chaos, and a man floating at sea.
Directed by Bashar Murkus, and developed with the Al Khashabi Ensemble from Haifa. Ala Hielel, Dramaturg. A co-production with El Hakawati, the National Theatre of Palestine. Amer Khalil, Artistic Director. Actors include: Raeda Ghazaleh, Shaden Kanboura, Khulood Basel Tannous, Husam Al-Azza, Henry Andrawes. Scenography by Majdala Khoury, Lighting by Firas Tarabashi, production management, Laura Hawa.
Social Justice & Political Theatre
Torange Yeghiazarian
This is an amazing account that is artistically inspiring and very moving. Thank you, Gary.
Gary English
Thank you, Torange. It's an amazing work and will tour Europe this fall and again in 2018.
In reply to This is an amazing account… by Torange Yeghiazarian
I hope to see it in the US at some point. Quite familiar with those challenges...
In reply to Thank you, Torange. It's an… by Gary English
David Y. Chack
In reply to Beautifully written. by David Y. Chack


text:
The '90s Giorgio Armani and Donna Karan style is totally now!
No Comments on The '90s Giorgio Armani and Donna Karan style is totally now!
To all Madonna's fans delight, the 90s style is back. Honestly, we're happy to see again trends such as power suits, plaids, polka dots, overalls, neon colours, buckethats, platformshoes, turtlenecks and baguette bags, to name a few. Besides all these 90s iconic pieces, two designers shaped the way women dressed in that decade, and their style is still contemporary. I'm talking about Giorgio Armani and Donna Karan.
Giorgio Armani's '90s style and now
Giorgio Armani is well-known for his clean, tailored designs. He launched his namesake label in 1975. Five years later, he famously designed the costumes for the unforgettable "American Gigolo", the movie that made a generation fall in love with Richard Gere. The Armani woman was- and still is- chic, very chic. In this 30 years gap, she continued wearing sartorial pantsuits and dresses in pastel hues, following the motto 'less is more'. Absolutely the same minimalist trend that we're living now.
1993 and 1996 campaigns shot by Peter Lindbergh for Giorgio Armani
Donna Karan, the queen of the 90s
The second designer that marked the '90s style is Donna Karan. The New Yorker fashion designer was a pioneer in the mid-eighties when she launched her eponymous label. Her first collection was "Seven Easy Pieces", with which women could create several sleek looks by combining the easy-to-wear garments. By the early nineties, Donna Karan had already become the epitome of simple chic and refined elegance. Her monochrome pieces that took women from the office to the night out are as relevant today as they were back then.
1992 campaign shot by Peter Lindbergh, courtesy of Donna Karan
"In Women We Trust" Campaign
Donna Karan designed power suits and wonderful outwear in hues of black, beige and grey, for the working woman-on-the-go.
In 1992, she released the now-famous ad campaign "In Women We Trust", shot by the iconic Peter Lindbergh. The black-white photos showed a model being sworn in as the President of the United States, now talk about empowerment!
90s Shapes, Cuts and Accessories
Besides the shape and cut from the '90s, Giorgio Armani and Donna Karan are also an influence when it comes to accessories. They usually completed their minimalist looks with statement necklaces and earrings or big brooches.
The Armani style of the nineties is so up-to-date and on-trend today that the Italian house tapped the supermodels of that time for its new ad campaigns. None other than Kate Moss is the face of Giorgio Armani's autumn/winter campaign shot by photographers Mert Alas and Marcus Piggott.
2019 campaign shot by Mert Alas and Marcus Piggott, courtesy of Giorgio Armani
The Armani's woman today
And for Armani's "New Normal" campaign, Peter Lindbergh shot four of the original supermodels' team he used to work with; Stella Tennant, Eva Herzigova, Yasmin Le Bon and Nadja Auermann. About this viral campaign, Giorgio Armani explained he chose "iconic women with strong personalities to show that feminine beauty is ageless (…) and convey a sense of reality, of clothes that offer natural elegance and the normality of everyday life."
I hope you're as inspired as I am by these beautiful images; let's make the world elegant again 😉
Photo title by Peter Lindbergh, courtesy of Donna Karan
Tags fall, Fashion Campaign, history of fashion, how to wear, ootd, Spring, style, Summer, the 60s, the 90s, Trend, what to wear, winter


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Статус : Закрыт
Hans Christian Andersen's Fairy Tales
Программа Пользователи Платформа Отзыв
date_range Начало18 апреля 2016 г.
event_note Завершение 24 апреля 2016 г.
label Литература
verified_user Сертификация бесплатная
Explore the fairy tale world of HC Andersen - the inspiration behind The Little Mermaid and Frozen - with this free online course.
This free online course will introduce you to some of Hans Christian Andersen's most popular fairy tales, help you analyse the themes in these, and give you the possibility to discuss the author's cross-cultural importance today, as the inspiration behind many popular books and movies. Interpret Hans Christian Andersen's fairy tales with experts from his birthplace You will learn with experts from the HC Andersen Center at the University of Southern Denmark – an internationally renowned research institution located in the writer's birthplace, Odense. Each week, these experts will guide a discussion, analysis and interpretation of one or more of Hans Christian Andersen's fairy tales, including: The Tinderbox The Travelling Companion The Little Mermaid The Snow Queen (the inspiration for Disney's Frozen) The Story of a Mother The Red Shoes New English translations of the fairy tales will be used. You can download them from this website . You will explore the themes of each story, and investigate how they both conform with and digress from the patterns of the traditional folk tale. The fairy tale genre became very popular in the period of literary history to which Hans Christian Andersen belongs, Romanticism, when childhood was discovered as an age that is important in its own right. What Hans Christian Andersen did with this genre is absolutely unique - there are no other writers of fairy tales like him. Through the course, you will understand how Hans Christian Andersen's authorship developed. From the rewriting of old folk tales via self-invented fairy tales to his so-called new fairy tales characterized by a modern approach. Explore Hans Christian Andersen's enduring, universal appeal Hans Christian Andersen grew from humble beginnings, to achieve fame and acknowledgement as an artist in both Europe and America while he was still alive. After his death, he became famous in Asia and all other parts of the world. The majority of Hans Christian Andersen's 157 fairy tales have been translated into at least 150 languages. They do not only create a fantasy world for children, but also explore universal, sinister and more adult themes such as death, grief and loss. Through this course, you will discover why his stories have such an enduring and universal appeal - for both children and adults.
Jacob Bøggild
Ivy York Möller-Christensen
Johannes Nørregaard Frandsen
Mette Dam Laursen
Torsten Bøgh Thomsen
FutureLearn est une plate-forme d'apprentissage proposant des formations en ligne ouvertes à tous (MOOC)
Fondée en Décembre 2012, la société est entièrement détenue par l'Open University à Milton Keynes, en Angleterre.
Elle est la 1ère plateforme offrant des MOOC au Royaume-Uni, avec à son actif plus d'une cinquantaine d'universités partenaires provenant du Royaume Uni mais aussi du reste du monde.
FutureLearn se différencie également par des partenariats avec des entités non-universitaires comme le British Museum, le British Council, la British Library et la national Film and Television School.


High angular momentum states populated in fragmentation reactions.
In: Physics Letters B, 632 pp. 203-206.
Nuclear and Coulomb breakup of 8 B/D.
In: Nuclear Physics A, 720 pp. 3-19.
This list was generated on Tue Apr 23 02:15:44 2019 CEST.


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From Sweden, this is Moving To Ashbury with some Pop-punk
Redandblue
by Moving To Ashbury
Hi all! We are Moving To Ashbury, a pop-punk band from Sweden. We are very excited to present our newest single, "Redandblue" which is an emotional song that explores mental illness, love, and sorrow. Our hearts and souls went into this one, and we hope you enjoy it as much as we do.
simple-plan
Ivy 'n Top Music
https://www.instagram.com/movingtoashbury/
Pop-punk/easycore
Nineties Guys
by Feelbacks
Hey you beautiful people, we're Feelbacks, a pop punk from Rome, Italy. We're releasing our new single "Nineties Guys", which is about our angsty and tormented generation living in this fast-moving century, anticipating our new album "PARADOX".
a-day-to-remember
the best i'll ever have
by timebomb
Hey what's up! We're timebomb, a pop-punk band from the Netherlands that's inspired by bands such as blink-182 and All Time Low. We just released ''the best i'll ever have'', a gateway pop-punk song about a cute girl we fantasized about while knowing we shouldn't.. We hope you like it!
Pop Punk, Pop Rock
What We Dwell On
by PSTCRDS
Hey guys! We are PSTCRDS and we have just released our new song "What We Dwell On". With a fresh anthemic sound added to the mix, the track is about the emotions surrounding a failing friendship. Eventually you can only try for so long to keep someone in your life who doesn't want to be there.
trophy-eyes


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Designed by Algorythym, and the brain child of Alan Rushlow, the Diskoportal will make it's only appearance this year at Backwoods Music Festival. The centerpiece originally named "Diskopella" had previously been mounted to a moving vehicle for burning man, but has been integrated into the center of this design specifically commissioned by Backwoods.
The Diskoportal consists of a 3,000 pound mirrored disco ball center structure which proceeds to open like a Lotus flower and shoot 50′ flames from it's core. Additionally, 6 towers surround the outskirts of the portal which are lined with LED panels (video screens) on the insides, with speakers that will rock your socks off, and also shoot 7-10 foot flames up into the sky everywhere else you look.
Imagine yourself completely surrounded by sound, computer synchronized fire shooting from all around you that matches the music, and your visual senses being stimulated by LED screens which surround you as well. Oh yea, I almost forgot about that giant Lotus looking disco ball in the center throwing a 50′ flame and 2,000′ light beams everywhere. Can we say extreme? I'd say so. It's so much even to describe we can't wait to see what it's like in person.
When first shown the concept and video tests of a similar computer controlled fire system through a simple text message, Gerry Westby in promotions at Backwoods said, "Oh my God." followed by a second text message of "OH MY GOD," just a few moments later.
We didn't feel the need to ask anyone else on the team what they thought about the concept as most others seemed to be speechless. We know this will be one of the most memorable and talked about experiences at Backwoods Music Festival this year.
1. If you had to explain this to someone in 10 words or less, describe what the heck this thing is.
::Diskoportal:: is a "Mind altering, Audio/Visual sensory arena designed to unify crowds" – I think that is precisely 10.
2. OK, now you have free reign. Give us the details… How far do light beams shoot off this thing? How much gas does it use? How tall are the flames? How many feet of LED panels? Spill the beans.
(1) – 400lbs into 200lbs compressed propane fire system capable of 50' bursts.
(6) – 100lbs DMX controlled fire system for 360 degree blasts.
3. What's the original concept and inspiration behind Discopella and how did it make its way to a full on Disco-Portal?
Since her debut at Burning Man 2014 the disco ball centrifuge has become iconic and we felt it was time to re-purpose her and create a more engaging experience that would allow more people to gather and experience it. We really wanted to gift this piece back to the community at Burning Man until we heard of the Backwoods Music Festival falling on the same weekend. It was time for a change and it was time to bring these creative ideas to growing and inspiring markets that hit closer to home.
Algorythym Designs has worked with the largest producers in the US and with a couple sound and lighting companies that were eager to get involved. With that said, my good friend Alex Brooks from Faze2 TurboSound had purchased an Aspect 880 touring rig that blows away any sound rig I have heard in sometime. The feeling this of warm audio waves that did not hurt my ears coming from this sound system gave me, really sparked the idea.
4. What has been the most challenging part of designing the concept thus far?
Definitely the element of creating a stage this massive that is created in the round. Mainly because ::Diskoportal:: consists of (6) – 22' tall metal towers. These towers are packed with fire, lighting, effects and all those elements need to receive data and power. Throw 5,000 people dancing and partying around them into the mix and you have yourself a logistical nightmare. Safety is our main focus and keeping this creation safe takes a lot of planning and strategic designing. There is something to be said when creating an interactive area that engages the community and delivers the experience of a lifetime! At the end of the day, we WORK HARD to PLAY HARD! I guess if it was easy, everyone would be doing it.
5. What else are you most excited for at Backwoods?
The main thing we are looking forward to this year at Backwoods is getting involved with the community that is the bloodline of this concept. YOU! We have worked with just about every festival in the nation and our crew is more excited for this show than any other show. Reason being? It is such a warm and inviting community that is sparing NO EXPENSE to get it right. The fact that we are contributing such a visually creative concept from the ground up means that the space above us are our only limitations. We are honored to be a new part of the Backwoods family and we cannot wait to meet everyone!! See you soon, Love and Light!


text:
Q: django datatable with Ajax print all data of queryset in webpage I am shifting from plain html datatable to datatable with ajax in django (because after loading large data, page with stretch and take time to fetch all data)
here are my codes :
model.py :
class myModel(models.Model):
    date = models.CharField(max_length=8)
    rnc = models.CharField(max_length=8,primary_key=True)
    mo = models.CharField(max_length=100)
    parameterid = models.CharField(max_length=100)
    before_value = models.CharField(max_length=40)
    class Meta:
        db_table = "changed_para"

urls.py
urlpatterns = [
    path('changed_para_json', views.changed_para_json, name='my_ajax_url'),
]

views.py
from django.http import HttpResponse
from django.core import serializers

from polls.models import myModel

def changed_para_json(request):
    if request.POST.get("fetchdata"):
        Date=request.POST["Date"]
        RNC=request.POST["RNC"]
        MO=request.POST["MO"]
        parameterid=request.POST["parameterid"]

    else:
        Date='2018-07-20'
        RNC='RRRNCH02'
        MO='CORRMALGOSWITCH'
        parameterid='DRASWITCH_DRA_VOICE_SAVE_CE_SWITCH'

    current_time=datetime.date.today()

    para = myModel.objects.using('rnc_parameters').all()
    json = serializers.serialize('json', para)

    object_list = myModel.objects.using('rnc_parameters').all() #or any kind of queryset
    json = serializers.serialize('json', object_list)
    return HttpResponse(json, content_type='application/json')

changed_para_json.html
    </form>

      Date
      RNC
      MO
      parameterid
      value Before

Issue is that , I am getting all serialized json output from views.py in the output. this is the output in web :
[{"model": "polls.myModel", "pk": "KRRNCH03", "fields": {"date": "2018-07-09", "mo": "FRC", "parameterid": "ECN0THSFOR2MSTO10MS", "before_value": "37"}}, {"model": "polls.myModel", "pk": "KRRNCH03", "fields": {"date": "2018-07-09", "mo": "FRC", "parameterid": "ECN0THSFOR2MSTO10MSCSPS", "before_value": "37"}}, {"model": "polls.myModel", "pk": "RRRNCH02", "fields": {"date": "2018-07-11", "mo": "INTERRATHOCOV", "parameterid": "INTERRATCSTHD2DECN0", "before_value": "-17"}}, {"model": "polls.myModel", "pk": "RRRNCH02", "fields": {"date": "2018-07-11", "mo": "INTERRATHOCOV", "parameterid": "INTERRATCSTHD2FECN0", "before_value": "-14"}}, {"model": "polls.myModel", "pk": "RRRNCH02", "fields": {"date": "2018-07-11", "mo": "UMULTIRABHOCOV", "parameterid": "CSPSMRABTHD2DECN0", "before_value": "-15"}}, {"model": "polls.myModel", "pk": "RRRNCH02", "fields": {"date": "2018-07-11", "mo": "UMULTIRABHOCOV", "parameterid": "CSPSMRABTHD2FECN0", "before_value": "-12"}}, {"model": "polls.myModel", "pk": "RRRNCH03", "fields": {"date": "2018-07-11", "mo": "INTERRATHOCOV", "parameterid": "INTERRATCSTHD2DECN0", "before_value": "-17"}}, {"model": "polls.myModel", "pk": "RRRNCH03", "fields": {"date": "2018-07-11", "mo": "INTERRATHOCOV", "parameterid": "INTERRATCSTHD2FECN0", "before_value": "-14"}}, {"model": "polls.myModel", "pk": "RRRNCH03", "fields": {"date": "2018-07-11", "mo": "UMULTIRABHOCOV", "parameterid": "CSPSMRABTHD2DECN0", "before_value": "-15"}}, {"model": "polls.myModel", "pk": "RRRNCH03", "fields": {"date": "2018-07-11", "mo": "UMULTIRABHOCOV", "parameterid": "CSPSMRABTHD2FECN0", "before_value": "-12"}}, {"model": "polls.myModel", "pk": "TERNCH11", "fields": {"date": "2018-07-11", "mo": "RRCTRLSWITCH", "parameterid": "OPTIMIZATIONSWITCH4_SCM_CU_CROSS_SWITCH", "before_value": "0"}}, {"model": "polls.myModel", "pk": "TERNCH12", "fields": {"date": "2018-07-11", "mo": "RRCTRLSWITCH", "parameterid": "OPTIMIZATIONSWITCH10_CS_PAGING_OVERLAP_RRC_EST_SWITCH", "before_value": "0"}}, {"model": "

how Can I fix it some how that my table is shown ?


text:
How IPOs Would Help A Broad Economic Recovery
https://www.uschamber.com/series/above-the-fold/how-ipos-would-help-broad-economic-recovery
Home / Above the Fold / How IPOs Would Help A Broad Economic Recovery
Oct 15, 2020 - 10:15am
Tom Quaadman
Executive Vice President, U.S. Chamber Center for Capital Markets Competitiveness
Senior Advisor to the Senior Executive Vice President
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The economic fallout from the pandemic has led to an uneven recovery, in which certain sectors do well, while others struggle. Technology and goods-producing companies look poised to thrive as their products and services adapt. Other segments of the economy like brick-and-mortar retailers and the entertainment and hospitality industries will not recover as quickly as other industries, impacting the daily life of millions of Americans.
Sadly, the U.S. has only regained half of the jobs lost since the pandemic started. Many Americans are rightly concerned about how any recovery can lift all boats. One way to do this is to create an environment where smaller companies are more likely to take their companies public.
Initial Public Offerings (IPOs) can ensure prosperity is shared in two ways: by fueling growth and broadening investment opportunities. First, IPOs allow our nation's fast-growing and most innovative companies to raise the capital they need to create jobs and grow. It's small, growth-oriented companies that form the foundation of the American economy.
A 2012 study by the Kauffman Foundation estimated that the 2,766 companies that went public from 1996 to 2010 collectively employed 2.2 million more people in 2010 than they did before they went public, while total sales among these companies increased by over $1 trillion during the same period. Second, IPOs let regular people buy stakes in small companies in public equity markets. You don't have to be an insider to invest; Main Street investors can realize gains toward economic security.
In recent years, we've seen a steady decline in the number of IPOs, harming growth, job creation and competitiveness. This drop also prevents Main Street investors from owning a direct stake in the success of American enterprise. According to data from EY, IPO activity (excluding business development companies [BDCs], direct listings and special purpose acquisition companies [SPACs]) has been cut in half compared with last year, and gross IPO proceeds are down about 65%. BDCs are investment vehicles, while direct listings and SPACs are designed to allow founders to cash out rather than traditional IPOs which are geared for growth.
However, aftermarket performance of this year's IPOs is up over 65% year-to-date, pointing to healthy investor appetite and the potential for traditional IPO listings to round out the year on the rebound. While this might be surprising, there's no doubt that this year has been a challenge for smaller companies with bigger plans.
There's reason to be hopeful that there are underlying growth incentives in the IPO market (investors searching for returns in a low-interest-rate environment). However, there may be another, overlooked reason: fewer onerous operating hurdles that can deter companies from going public in the first place.
This summer, the Securities and Exchange Commission (SEC) took significant steps to modernize the public company model to preserve its appeal. The SEC finalized its Proxy Advisor Rule and its Shareholder Proposal Rule, which have reversed policies that have emboldened special interest activists to push narrow agendas unrelated to the success of public companies and investor return. Under this new, more effective regulatory structure, public companies can focus on long-term goals without the distractions that often deter companies from going public.
While the SEC should be commended for making bold adjustments that improve the regulatory structure for IPOs, it is Main Street that benefits. When companies can successfully raise capital through an IPO—and stay public—those companies subsequently invest in growth and in employees. In turn, this helps drive economic growth in communities across the country. Meanwhile, Main Street investors can build wealth when these companies return their profits to investors in the form of increasing stock prices and dividends.
While segments of the uneven recovery do well, we can't lose sight of the things that can make the recovery more broad-based.
In the coming months and years, let's make sure more innovative companies can find the capital they need to grow and that ordinary investors can reap the rewards. Let's ensure government pursues the right policies so even more companies consider going and staying public through IPOs. That will help ensure a stronger recovery not just for a few, but for everyone.
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Tom Quaadman develops and executes strategic policies to implement a global corporate financial reporting system, address ongoing attempts of minority shareholder abuse of the proxy system, communicate the benefits of efficient American capital markets, and promote an innovation economy and the long-term interests of all investors.
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Like many American families – nearly 70% of us, in fact – ours has always had a pet or two: the obligatory hamsters and parakeets when our boys were young; a striking, white malamute-shepherd; a Corgi with an attitude (his name, Bedford, says it all); and most recently, an endearingly affectionate black cat named Kitty who never fails to welcome us home by trotting to the door, flopping down on the floor and waiting for a belly rub.
As pet owners ourselves, we know all about the love affair that we pet parents have with our pets.
It was not that love alone, however, that propelled us into the pet industry.
Our introduction to the power of electrolyzed water and its remarkable, non-toxic properties provided us with an exciting opportunity: to bring together our love for pets and our concern for the health of our children to create a product that provides safe, effective treatment for pets without the toxic chemicals that can be harmful to our children and our planet, never mind to the pets themselves.
It may be a small step, but we hope you'll join us in our commitment to healthy pets, healthy people, and a healthy planet.
Read more of PurSpray's story by clicking here.
PurSpray: 100% non-toxic and environmentally-friendly; a dual-purpose spray that is safe for all pets as a gentle, effective treatment for skin, eyes and ears, and as a cleaner for pet living areas and accessories.
Healthy pets. Healthy people. Healthy planet.
*Because children's bodies, organs and immune systems are still developing, they are particularly vulnerable to the harmful effects of chemicals. Both the Centers for Disease Control and Prevention (CDC) and the National Academy of Sciences consider the abundance of chemicals in our environment highly complicit in the alarming rise in childhood asthma as well as developmental and learning disabilities like ADHD and autism. In addition, chemicals inside our own homes poison thousands of children every year.


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The flight distance is 1705 km / 1059 miles and the average flight speed is 524 km/h / 326 mph. In the last 30 days, the average delay of the flight was 0 minutes and the flight was on-time 100% of the times. The average flight time is 3 hours and 15 minutes.
This Star Peru flight can also be referenced as SRU902, 2I0902, 2I 902, SRU 902.
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