text:
Q: Adding separate artboard for each layer based on the content width using Illustrator scripting I have already written a code to extract content from a csv file and add each chunk of text on each layer of illustrator. At the moment I could add content for fixed artboard. But I need to add separate art board while keeping the width 23mm. So, artboard height similar to content height of the particular layer. I'm getting an error "TypeError: text.parentArtboard is undefined"
Kindly help me to resolve the above issue.

var csv = '''clipName,Trans,fname
A1 ,test Text1,A1_ENG
A2 ,Pigment dyed fabric w.,A2_ENG
A3 ,UPF 50+ fabric. Only covered areas are protected. To maintain this level of protection the garment must be rinsed in fresh water after each use.,A3_ENG
A4 ,Light colours may become transparent when wet,A4_ENG'''

/* var csv_file = File.openDialog();
csv_file.open("r")
var csv = csv_file.read();
csv_file.close() */
var lines = csv.split("\n");

// MAIN -------------------------------------------------------------

// make character styles
var FONT1 = make_style("font1", "ArialMT", 5.5);

// process lines
for (var i=1; i<lines.length; i++) {
    var data = get_data_from(lines[i]);
    make_layer(data.name)
    var text = make_text(data.contents);

    apply_styles(text);

    put_in_center(text);
     // Create a new artboard
    //artboard()
}

// END

// functions --------------------------------------------------------

function make_style(style_name, font_name, size) {
      // try to add a new style
    try { var style = app.activeDocument.characterStyles.add(style_name) }
    // or pick a style with the same name if it exists already
    catch(e) { var style = app.activeDocument.characterStyles.getByName(style_name) }

    //var style = app.activeDocument.characterStyles.add(style_name);
    style.characterAttributes.size = size;
    style.characterAttributes.textFont = textFonts.getByName(font_name);
    return style;
}

function addArtboard(text, artboardWidth ) {
    // Get all layers in the text
    var layers = text.layers;

    // Set the artboard width to 23
    var artboard = text.parentArtboard;
    artboard.width = artboardWidth;

    // Declare variable to keep track of content height
    var contentHeight = 0;

    // Loop through all layers
    for (var i = 0; i < layers.length; i++) {
        var layer = layers[i];

        // Position the layer
        layer.x = 0;
        layer.y = contentHeight;

        // Update content height
        contentHeight += layer.height;
    }

    // Set the artboard height based on the content height
    artboard.height = contentHeight;
}

function get_data_from(line) {

    var arr = line.split(",");
    var fname = arr[2]
    var VL1   = arr[0];
    var VL2   = arr[1];
    //alert("Your message here...", fname);
    //return {"name":Fname, "contents":[VL1, VL2, VL3, VL4,VL5, VL6, VL7, VL8, VL9]};
    return {"name":fname, "contents":[VL2]};
}
//string.includes(substring)
function rearrangeText(text, artboardWidth) {
  // Split the text into words
  var words = text.split(" ");
  var rearrangedText = "";
  var currentLine = "";

  // Loop through each word
  for (var i = 0; i < words.length; i++) {
    var word = words[i];
    // If the current line + the next word would exceed the artboard width
    if (currentLine.length + word.length > artboardWidth) {
      // Add the current line to the rearranged text
      rearrangedText += currentLine + "\n";
      // Reset the current line
      currentLine = "";
    }
    // Add the word to the current line
    currentLine += word + " ";
  }
  // Add the last line to the rearranged text
  rearrangedText += currentLine;
  return rearrangedText;
}

function make_layer(layer_name) {
    var new_layer = app.activeDocument.layers.add();
    new_layer.name = layer_name;
}

function make_text(array) {
    var text = app.activeDocument.textFrames.add();
        text.contents = rearrangeText(array.join("\n"),23);
         addArtboard(text.contents,23) //Try to add new artboar based on the text content size
    return text;
}
function artboard() {
    var layers = app.activeDocument.layers;
    var textLayers = [];
    for (var i = 0; i < layers.length; i++) {
        if (layers[i].kind == LayerKind.TEXT) {
            textLayers.push(layers[i]);
        }
    }
    var width = 23; // width in mm
    for (var i = 0; i < textLayers.length; i++) {
        var textLayer = textLayers[i];
        var textBounds = textLayer.bounds;
        var artboardWidth = width * app.activeDocument.rulerUnits;
        var artboardHeight = textBounds[3] - textBounds[1];
        var artboard = app.activeDocument.artboards.add(textBounds);
        artboard.width = artboardWidth;
        artboard.height = artboardHeight;
        textLayer.move(artboard);
    }
}

function to_center(artboard, item){
    var artboard_x = artboard.artboardRect[0] + artboard.artboardRect[2];
    var artboard_y = artboard.artboardRect[1] + artboard.artboardRect[3];
    var x = (artboard_x - item.width)/2;
    var y = (artboard_y + item.height)/2;
    item.position = [x, y];
}

function apply_styles(text) {
    // not the best piece of code, I'm sure it can be done better
    text.textRange.paragraphAttributes.justification = Justification.CENTER;
    FONT1.applyTo(text.textRange);

}

function put_in_center(obj) {
    var rect = app.activeDocument.artboards[0].artboardRect;
    var page_w = rect[2] - rect[0];
    var page_h = rect[1] - rect[3];
    var shift_x = page_w/2 - obj.width/2;
    var shift_y = -page_h/2 + obj.height/2;
    obj.position = [rect[0] + shift_x, rect[1] + shift_y];
}

When I remove the function addArtboard(text, artboardWidth ) all content will be nicely rearrange based on the width of the artboard. But, artboard size doesn't  change due to the code error.
Experts kindly help me with this.
Image of the content arrangement on illustrator layers are mention below

A: If understand the task correctly you can add this function into the code:
function distribute_texts_and_create_artboards() {

    const mm    = 2.83465;   // mm/pt
    var shift_x = 30 * mm;   // horizontal shifts for texts
    var width   = 25 * mm;   // artboard width

    var doc = app.activeDocument;
    var frames = doc.textFrames;

    // move all the frames and create an artboard for the every text frame

    for (var i=0; i<frames.length; i++) {

        var frame = frames[i];
        frame.translate(shift_x * i, 0); // move the frame horizontally

        var frame_x1 = frame.geometricBounds[0];
        var frame_y1 = frame.geometricBounds[1];
        var frame_x2 = frame.geometricBounds[2];
        var frame_y2 = frame.geometricBounds[3];

        var artboard_x = frame_x1 - (width - frame.width)/2;
        var artboard_y = frame_y1;
        var artboard_w = frame_x2 + (width - frame.width)/2;
        var artboard_h = frame.height;

        var artboard_rect = [artboard_x, artboard_y, artboard_w, -artboard_h];
        var new_ab = doc.artboards.add(artboard_rect); // create a new artboard
        new_ab.name = frame.parent.name; // artboard name = layer name

        // frame.position = [frame.position[0], frame.position[1]/2]; // to centred the frame vertically
    }

    doc.artboards[0].remove(); // delete the old first artboard
}

and call it at the end of the 'MAIN' section:
...
}

distribute_texts_and_create_artboards();

// END

...

and comment out the line:
// put_in_center(text);

It should give you the layout as follows:

Probably it makes sense to tweak the vertical position of the frames of the artboards a bit. But since you haven't provided an example of desired result I left it as is, for now. Let me know if you need it or uncomment the line:
frame.position = [frame.position[0], frame.position[1]/2];

And you don't need the functions addArtboard() and artboard() anymore in the code.

Update
Here is the function that saves all the text frames from layers as separate PDFs into the same folder as current AI file. File names are the same as layer names.
function save_layers_as_pdfs() {
    var doc = app.activeDocument;

    // pdf options
    var options = new PDFSaveOptions();
    options.compatibility = PDFCompatibility.ACROBAT5;
    options.generateThumbnails = true;
    options.preserveEditability = false;
    options.preset = "[Smallest File Size]";

    var mm = 2.83465;     // mm/pt
    var width = 25 * mm;  // artboard width

    var layers = doc.layers;
    for (var i=0; i<layers.length; i++) {
        var layer = layers[i];
        layer.hasSelectedArtwork = true;
        if (app.selection.length == 0) continue;
        app.copy();
        app.selection = null;

        // create a new file
        var file = File(doc.path + '/' + layer.name + '.pdf');
        var new_doc = app.documents.add();
        app.paste();

        // change the artboard size
        var frame = new_doc.textFrames[0];

        var frame_x1 = frame.geometricBounds[0];
        var frame_y1 = frame.geometricBounds[1];
        var frame_x2 = frame.geometricBounds[2];
        var frame_y2 = frame.geometricBounds[3];

        var artboard_x = frame_x1 - (width - frame.width)/2;
        var artboard_y = frame_y1;
        var artboard_w = frame_x1 + frame.width + (width - frame.width)/2;
        var artboard_h = frame_y1 - frame.height;

        doc.artboards[0].artboardRect = [artboard_x, artboard_y, artboard_w, artboard_h];

        // save a pdf and close document
        new_doc.saveAs(file, options);
        new_doc.close(SaveOptions.DONOTSAVECHANGES);
    }
}

You can call this function at the end of the MAIN section.
The result:

And make sure your csv data is correct: the separators, quote marks, tabulations, etc.


One Day Without Us is a British grassroots campaign to celebrate the contributions that EU citizens and migrants from all over the world make and have made to daily British life. It culminates in a national day of action all over the UK on Monday 20 February 2017. See what else is happening in your area.
Over on Vulpes Libris I began the invitation list for a party to celebrate all the migrant authors who have made English literature what it is today. Who do you think should be invited?


text:
Q: Why doesn't WCF support other encodings than UTF-8 and UTF-16 by default? We have some issues with a WCF SOAP service that we publish, and is consumed by one of our customers. The issue is that the customer makes SOAP requests encoded as ISO-8859-1, which results in the error message:

HTTP/1.1 415 Cannot process the message because the content type 'text/xml;charset=iso-8859-1' was not the expected type 'text/xml; charset=utf-8'.

Apparently, WCF only supports UTF-8 and UTF-16 big endian, according to http://msdn.microsoft.com/en-us/library/ms751486(v=VS.90).aspx. The problem is also discussed in these questions on SO:

*

*Calling a webservice that uses ISO-8859-1 encoding from WCF

*WCF Exception: Text Message Encoding and ISO-8859-1 Encoding
While I agree that unicode is preferred, I'm not in a position to force our customer to change their client, so I will have to fix our service.
It bugs me that I need to put >150 lines of code written by some MSDN author into my project - I can't maintain that code or take responsibility for it. I've also spent quite some time to Google for solutions and try to understand them, which I feel is a waste of time for something that could be handled out of the box by WCF.
My question is: is there any good reason for Microsoft to implement WCF this way? Is there a technical reason why SOAP shouldn't use ISO-8859-1? To me, this seems to break Postel's law, rejecting messages that can really be handled by almost any XML parser out there.

A: Apparently, this is allowed in the SOAP 1.2 specification, see section 4.2:

A binding, if using an XML serialization of the XML infoset, MAY mandate
  that a particular character encoding or set of encodings be used.

In this case, WCF chooses to support only UTF-8 and UTF-16, not other encodings.

A: One workaround is consume the service in an "old times" way using the HttpWebRequest class, as described here. You will have to deal with pure Xml to make requests and other cool things, but works fine!

redpajama_set_name: RedPajamaStackExchange


text:
Nemecene (Paperback)
Dreams Flow in Streams
By Kaz Lefave, Kaz Lefave (Drawings by), Sylvia McConnell (Editor)
Aguacene Publishing, 9781988814124, 392pp.
Have you ever wondered what lies beyond the dreamless sleep? In just nine days, Elize is about to find out, unless ... her twin brother Keeto can save her. Hidden away in a room that multiple entities desperately seek, an inner battle materializes amid the frames of reality. As time flows through the space between lives, meandering, spinning, and falling with every attempt to end the chase for answers, destiny creeps forward. In this fourth episode of the Nemecene(TM) series, Elize travels where few can safely pass, when memories can suddenly fade, and with guides who can simply mislead, while Keeto throws his faith into a game of trust-and-see. And the clock ticks on against them both. Meanwhile, the Gadlin subculture is dealing with an internal crisis of its own. They have pulled the planet's oceans into their vision for ecological atonement, even as their leader continues to twist the Gadlin creed into a Gadlin's greed. Although their efforts have set in motion a promising reversal of the toxic flooded world they call home, the global landscape is changing at an unprecedented rate. Where this well-meaning interference will leave humanity is a calculated risk. Success rests with civilization's ability to adapt. For the past three years, another secretive breed has been monitoring the twins' progress and has been undermining the Pramam's hidden agenda, in his capacity as the Unification's spiritual and political leader. Now, they pounce into action. One of their kind, Tuffurie, has assumed the lead under a directive to safeguard the veneer behind which truth lies. There are things in the water that must not escape the medium in which they are bound. The gurgling, stalking, and whispering mirages that have been tormenting Keeto's sanity, for far too long, must return to their prison, or his sister will not be the only one whose survival is at stake. What the twins have discovered, thus far, is a blip in the order of things. What they believe in is irrelevant. What they hope for is a miracle. How far would you leap to catch your dreams?
Kaz Lefave is a Toronto-based science fiction world builder who crafts compelling stories by connecting the dots between science, art, music, dance, fashion, words, spirit, nature, reason, humanity, darkness, humor, and the inexplicable. She has a B.Sc. in engineering, a fashion degree, certifications in personal training and hypnosis, a US Patent, an IMDB director credit, a water/ocean philanthropy mission, and speaks English, French, Spanish, and few more. Kaz has also just recently surrendered to chocolate's persistence and to her standard poodle's tank top thievery.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Vba При копировании файлов из ZIP Нужно не копировать файлы расширения SIG В zip файле есть файлы Расширения SIG и их копировать не нужно но как это сделать не понимаю
Sub Unzip()
    Dim FSO As Object
    Dim oApp As Object
    Dim Fname
    Dim FileNameFolder As Variant
    Dim DefPath As String
    Dim x As Integer

    Fname = Application.GetOpenFilename(filefilter:="Zip Files (*.zip), *.zip", _
                                        MultiSelect:=True)
    If TypeName(Fname) = "Boolean" Then
        MsgBox "Вы ничего не выбрали!"
        Exit Sub
    End If

        DefPath = "C:\Users\Ass\Downloads\TEST"
        If Right(DefPath, 1) <> "\" Then
            DefPath = DefPath & "\"
        End If
        x = 1
        While x <= UBound(Fname)
        FileNameFolder = DefPath

        Set oApp = CreateObject("Shell.Application")
        oApp.Namespace(FileNameFolder).CopyHere oApp.Namespace(Fname(x)).Items

        x = x + 1
        Wend

        MsgBox "You find the files here: " & FileNameFolder

        On Error Resume Next
        Set FSO = CreateObject("scripting.filesystemobject")
        FSO.deletefolder Environ("Temp") & "\Temporary Directory*", True

End Sub

A: Спасибо всем, нашел все таки способ копировать определенные файлы
Вместо этих строчек
        Set oApp = CreateObject("Shell.Application")
        oApp.Namespace(FileNameFolder).CopyHere oApp.Namespace(Fname(x)).Items

(копирование всех файлов архива)
Нужно использовать
        With CreateObject("Shell.Application").Namespace((DefPath))
        .CopyHere Fname(x) & "\" & "0.xlsx"
        End With
        x = x + 1
        Wend

Где  0.xlsx - имя файлов для копирования


The IP4000i, IP 5000i and IP6000i cameras from Bosch now have Essential Video Analytics built in as a standard feature, enabling the cameras to understand what they're seeing, generate metadata to add sense and structure to the video footage, and enable smarter business decisions. For example, the cameras can gather statistics about customer activity patterns in a retail store, enabling users to optimize store layouts and improve customer experiences. The cameras (available in a range of resolutions from 720p to 5MP) also enable advanced intrusion detection, allowing users to set one or more alarm rules in parallel, only receiving alerts when needed.


Writing digital math is difficult. Either you learn a tough markup language like LaTeX or you use a funky drag and drop editor. A group of undergraduates have set out to change that.
Parsegon is a company founded by undergraduates Mathew Pregasen (Columbia '18), Anuke Ganegoda (Columbia '18), Sahir Jaggi (Columbia '17), and Rikhav Shah (MIT '19). Parsegon invented a way, patent provisional, to translate English descriptions of math into digital typeset mathematical notation. To provide an example, Parsegon's technology could take a sentence "integral from 0 to 10 in region D of 2x squared + 3x cubed – the square root of x" and convert it into visual, textbook-formatted math.
The platform is advantageous for math and STEM teachers in two ways: (a) writing assignments is easier and more accessible than alternates and (b) students can show work on digital assignments and receive partial credit. This makes digital math competitive with traditional pencil and paper approaches. Previously, digital math required intensive understanding of markup languages like LaTeX or compromising flexibility with the use of drag and drop editors.
Photo: Mathew Pregasen, one of the team's co-founders, started Parsegon out of his Dorm Room.
The company is working with pilot high schools from states of New York, New Jersey, Texas, and Florida.
Parsegon's technology supports virtually all forms of math, including calculus, discrete math, matrices, and graphs. Parsegon released its flagship education product in January 2017 that allows teachers to write homework assignments and exams effortlessly using just English descriptions of math. Parsegon also affords full customizability to teachers to write, modify, and specify the answer method for any question.
The full team alongside co-founders is made up entirely of undergraduates. The team consists additionally of Talia Pelts (MIT '21), Austin Hopkins (JHU '18), Neha Pai (NYU '21), and Simon Dharmakirthi (Valencia '20).
Parsegon's technology has been backed by Columbia University including Columbia Entrepreneurship and administrators from the Math and Engineering Departments. Parsegon has also received financial backing from Rough Draft Ventures and DRF. Parsegon won the Columbia Venture Competition $25,000 grand prize and received an additional $20,000 ignition grant from the university.


The Animal Science research program at the University of Nebraska-Lincoln is conducted through some 30 externally and internally funded projects managed under the Agricultural Research Division of IANR. Research activity ranges from basic molecular biology aspects of genetics/genomics/functional genomics and physiology to applied aspects of breeding and genetics, nutrition, meat science and processing, growth, heat and cold stress, production and management strategies and integrated interdisciplinary beef systems projects. Significant collaborative research is conducted in the areas of pre-harvest food safety, nutrient and waste management, animal health, and beef production systems. Interdisciplinary research is encouraged and support is provided for joint projects across departments and between multi-state project participants. Research is conducted in vivo in small animal, poultry and livestock housing laboratories in Animal Science, at all of the animal units managed by the Department, and at facilities owned and managed by cooperating producers. Cell, embryo, and tissue culture work is also conducted.


hello, i have a snippet of code here that i will show you, it simply allows a user to click a button to open the CD Drawer and another button to close, however i have been asked if i could get this feature to work across a network, but as networks are the abyss to me i would apreciate any hints or help that could be provided.
Hello there. I think the best way to do this would be to use the Microsoft Winsock Control provided with Visual Basic. (You can include this control in your toolbox by going to Projects|Components and selecting Microsoft Winsock Control 6.0 from the list). This is a wonderful control for building client server applications on VB. You'll have to get some tutorials on using this control (http://www.vbip.com could be a good place). After building a simple client server application, you could execute your CD drawer opening code by including the execution code in the Winsock_DataArrival event of Winsock (in the server part of your application). When the client sends some command to open the CD drawer, like, "OpenCD", the server would execute the code and open the CD drawer.
: hello, i have a snippet of code here that i will show you, it simply allows a user to click a button to open the CD Drawer and another button to close, however i have been asked if i could get this feature to work across a network, but as networks are the abyss to me i would apreciate any hints or help that could be provided.


text:
#IDARB (Xbox One) Review
By Noah Fatale 04.09.2016
#IDARB started as a small joke tweet by Mika Mika (@MikeJMika) on January 3rd, 2014, in which he tweeted a photo of a small red box and some platforms, with the caption, "Where to go with this? I've started a new project; it draws a red box. Thinking platformer. #helpmedev." Almost immediately after Tim Schafer, the cofounder and creative director of indie company Double Fine tweeted, "I think the red box needs to make a critical choice, and the narrative flows from there" to his 350,000+ followers, ideas started flowing in, some serious, others not so much. From here, #IDARB was born. It became a full-fledged game complete with Twitter and Twitch integration and online multiplayer.
In terms of general gameplay, #IDARB is a very innovative game. It starts off as a simple football match, with two teams trying to shoot a ball into the opposite team's goal. However, it soon becomes a crazy, all-out brawl with no real rules except to win by all means necessary. One aspect that is really unique is the Twitter and Twitch tie-in. The game has an option to scan the Twitch chat of a chosen stream for "hashbombs," meant to spice the game up a bit, such as #ricky, in which the popular internet meme "Rick Roll" dances across the screen, and #bomb, where the ball is turned into a bomb, sending anyone caught in the blast to the penalty box. There are plenty more, and the easiest way to find them all is to play the game and encounter them as they come. However, once they're all seen, the game sort of loses its wondrous lustre, and it becomes a standard soccer game with the occasional twist on the match.
There isn't much to say about graphics and sound, as #IDARB takes the form of a classic 8-bit arcade platformer, even going so far as to put the all-too-well-remembered, "Winners Don't Use Drugs" screen at the beginning. The sounds reflect this, being the sort of low quality, hard-to-make-out voices that would be heard in arcade cabinets such as Mortal Kombat and Pole Position. It really brings back some memories of being in the arcade as a kid, playing games with friends.
#IDARB implements a cool feature, which is the ability to create custom characters. With this, the player draws pixel art of whichever character they want to use, and can put those characters on a team, complete with music and a logo that they can make in the same way. This provides a unique experience tailored to whatever the player is looking for. There's even a "Trading Post" feature where the player can trade characters, logos, and songs with their friends. If a Kinect is owned, QR codes of various songs and characters can be scanned for an easier customised game.
Cubed3 Rating
Very Good - Bronze Award
All in all, #IDARB is a very fun game with an original concept and very unique features. It implements all of these features very well, and even adds a nice comedic aspect to the whole thing. However, the gameplay becomes slightly stale after a bit, with not much variety after it's all been seen. This game is recommended for anyone who has some friends who'd like to come over for a game night, as it is much more fun with multiple players instead of just one. It's not recommended to buy this if all that is going to be done with it is passing the time on a boring night.
#IDARB (Xbox One)
Game Details Read Review Screens Videos
Out now Out now Out now Out now
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hinchjoie


Mostly sunny. Highs in the mid 60s near lake michigan in the lower 70s inland. South winds around 10 mph.
Partly cloudy. Lows in the upper 40s. South winds around 10 mph.
Mostly sunny until midday then becoming partly sunny. Highs in the mid 70s. South winds 5 to 15 mph.
Mostly cloudy with a 50 percent chance of showers and thunderstorms. Lows in the mid 50s. South winds 10 to 15 mph with gusts to around 25 mph.
Mostly cloudy. A chance of showers and thunderstorms until midday then a slight chance of rain showers in the afternoon. Highs in the mid 50s near lake michigan in the lower 60s inland. West winds 10 to 15 mph becoming northwest in the afternoon. Gusts up to 25 mph. Chance of rain 40 percent.
Mostly sunny until midday then becoming partly sunny. A 30 percent chance of rain showers. Highs around 60.
Mostly cloudy with a chance of rain. Chance of precipitation 35%. Low temperature around 44F. Dew point will be around 37F with an average humidity of 70%. Winds will be 15 mph from the SE.
Mostly cloudy. High temperature around 51F. Dew point will be around 39F with an average humidity of 74%. Winds will be 13 mph from the SSE.
Mostly cloudy. Low temperature around 43F. Dew point will be around 41F with an average humidity of 83%. Winds will be 14 mph from the S.
Mostly cloudy. High temperature around 53F. Dew point will be around 39F with an average humidity of 75%. Winds will be 13 mph from the SSW.
Mostly cloudy. Low temperature around 45F. Dew point will be around 39F with an average humidity of 75%. Winds will be 3 mph from the ESE.
Partly cloudy with scattered thunderstorms. Chance of storms 50%. High temperature around 50F. Dew point will be around 39F with an average humidity of 75%. Winds will be 11 mph from the S.
Partly cloudy with scattered thunderstorms. Chance of storms 50%. Low temperature around 45F. Dew point will be around 39F with an average humidity of 72%. Winds will be 7 mph from the NW.


Nobel Dental Clinic is one of the well-known clinics in Nanded HO, Nanded offering best dental treatment services. The clinic has experienced dentists and consultants. Book an online appointment with at Nobel Dental Clinic. today and get a healthy smile.


text:
Missionary Image of Our Lady of Guadalupe Visits Grand Rapids
Various locations - see event description or click event website link for details, Grand Rapids, MI View Map
Friday, September 13 to Monday, September 30
Visit begins with opening Mass, presentation and veneration on Sept. 13 from 7-9 p.m. at St. Isidore Church, 628 Diamond Ave NE, Grand Rapids, MI.
This missionary image of Our Lady of Guadalupe is one of four exact 4' x 6' replicas of the original Miraculous Image of Our Lady which she left on St. Juan Diego's tilma in 1531. The replicas were commissioned and blessed by Monsignor Diego Monroy, Rector of the Basilica of Our Lady of Guadalupe in Mexico City to pilgrims all over the world to bring about conversion to the Catholic faith, reverence for life, the sanctity of the family, and solidarity of the Church in America. St. Isidore Church and the Philippine Cultural Group of Michigan invite you to attend and rejoice with them during this visit of the Missionary Image of Our Lady of Guadalupe. The image will arrive on Thursday, Sept. 12 and travel to various locations around Grand Rapids through Sept. 30. While in Grand Rapids, the image will travel to various destinations including Immaculate Heart of Mary (IHM) Parish, Our Lady of La-Vang Parish in Wyoming, St. Ann's Home, the Dominican Center at Marywood, the Garden of Life at HELP Pregnancy Crisis Aid and more, with stops back at St. Isidore. A public procession is planned for Sunday, Sept. 29 beginning at the Basilica of St. Adalbert and ending at Bishop Baraga's Mission Church marker at the corner of Seward and Butterworth. For updates and additional details visit www.OLGGrandRapids.live.
St. Isidore Parish Office 616-459-4731 Contact St. Isidore Parish Office


Easily cast and transform a single result set or a collection of results from a database query.
Internally, collection is simply a convenient front to array_map(Transformer::resource). In all other respects they work identically. The rest of this README will therefore only use resource.
The default behaviour is to remove all numeric keys from resources as if one had fetched it using PDO::FETCH_ASSOC. To override this you may instantiate the transformer with a false parameter.
You can only transform results returned as an array. The assumption is that if you fetch "into" objects (models) these would do their own massaging. You will however see later on how we can transform into objects as well.
Any fields not specifically transformed are passed verbatim, and any fields mentioned in the transformed not present in the result are simply ignored. The idea is that you specify transformers with all transformable fields for a table, but your query doesn't necessarily do "SELECT *". This way you can easily reuse transformers.
More than one transformer may be given; just add additional arguments. They are applied in order and if more than one specifies a return type, only the last is used. This allows you to quickly specify overrides for certain query results. If a field would be transformed twice using this method, it is first cast back to a string before being passed to the next transformer. If you instead would like to pass the transformed value (because your decorator uses type hinting in its constructor itself) specify it with a default null value.
Instead of manually passing lambdas around, a much cleaner pattern would be to specify your transformers as class methods. You might do this on a model, or in a central interface. Remember, we're not actually calling these methods, we just want to inspect them!
// A return type of array is actually the default.
Do I need any other Quibble module to use this?
Nope. You don't even need PDO as long as you're dealing with arrays.


Sublimation blanks pencil tin in pink.
Retro pink metal pencil tin with a push fit lid and printable metal insert. Ideal for schools, clubs, teams and birthday presents.
Peel protective cover from printable metal insert and secure face down onto your printed paper and heat press printed image face up metal face down.


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Inmarsat wins at Inflight Middle East Awards
Inmarsat has been named winner of Inflight Middle East's Connectivity Enablement Award for the second consecutive year.
Above: Neale Faulkner, Regional Market Development Director at Inmarsat Aviation, collects Inflight Middle East's Connectivity Enablement Award in Dubai.
The prestigious accolade was announced in Dubai yesterday, after an independent panel of industry experts voted for Inmarsat's GX Aviation as the inflight broadband solution of choice for airline passengers in the Middle East and beyond.
GX Aviation is the world's first and only global, high-speed inflight connectivity service delivered through a wholly-owned and operated network of high-throughput satellites. It enables airline passengers to seamlessly browse the internet, stream videos, check social media and more during flights, with a wi-fi experience comparable to mobile broadband on the ground.
The service is currently being offered to passengers by a growing list of airlines across the world, including Qatar Airways, Singapore Airways, Norwegian, Air New Zealand, Avianca and Lufthansa Group. Global take-up shows no signs of slowing over the course of this year, with a healthy pipeline of aircraft due to be installed with the service.
Neale Faulkner, Regional Market Development Director at Inmarsat Aviation, said: "We are delighted that the industry has endorsed GX Aviation once again at the Inflight Middle East Awards. The Middle East is one of the aviation industry's fastest growing markets and home to a number of world-renowned airlines, so it's a matter of pride that GX Aviation has quickly established itself as the region's gold standard in next-generation inflight broadband.
"Our airline customers will also benefit from continued investments in our global mobile connectivity infrastructure. As the only global provider of Ka-band connectivity delivered through a single, wholly-owned network, Inmarsat has sufficient capacity to meet current market demands. We have also announced three additional satellite launches to deliver targeted capacity where it is required, the first of which is scheduled for launch this year."
In addition to retaining Inflight Middle East's 'Connectivity Enablement' Award, Inmarsat has been named 'World's Leading Inflight Internet Service Provider' at the World Travel Awards for two consecutive years. These recent accolades are the latest in a series of industry recognitions for Inmarsat's inflight Wi-Fi services in the last year.
DSA gets 'Very Good' accessibility rating in CAA …
CAA awards Stansted a 'good' rating for …
Inmarsat connects Emirates' US-bound …
Menzies Aviation signs ULD CARE's Code of …


Nick Noyes, FAIA Operating out of a converted warehouse in the Dogpatch/Potrero district of San Francisco, Nick Noyes Architecture has found a prominent place in the architectural community of the Bay Region and beyond.
On all projects particular attention is paid to client satisfaction, an appropriate response to site and context and the inclusion of environmentally sensitive and sustainable methods. Nick Noyes Architecture is known for working creatively within tight budgets.
Extensive travel and residence abroad as well as an education on both the east and west coasts have equipped Nick Noyes to work creatively with a diverse clientele and a geographically varied set of commissions.
Nick Noyes received a Bachelor of Arts in Architecture from the University of California, Berkeley and a Masters of Architecture from Yale University. Nick is licensed in California and Delaware and is a member of the American Institute of Architects.
Nick Noyes was elevated to the AIA College of Fellow in 2019. Fellowship is the AIA's highest membership honor and recognizes recipients for exceptional work and contributions to architecture and society at the national level.
Along with his practice Nick has also taught architecture at the University of California, Berkeley and most recently as an Adjunct Professor at the California College of the Arts.


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Paul Bruinooge/Patrick McMullan via Getty Images
helloGiggles Exclusive
Project Runway's Elaine Welteroth explains why diversity in the beauty industry has to start behind the scenes
After years of keeping young girls up-to-date on makeup and fashion, Teen Vogue became a premiere site for social justice and political discourse in a transformation that took less than two years. It was a natural evolution that didn't seem contrived or rooted in capitalism, and people started paying attention. This transition stemmed from the work of former editor-in-chief, Elaine Welteroth, the ultimate media It girl.
Welteroth took over the publication in 2016, after serving as Teen Vogue's Beauty Director for four years, and made headlines for being the second Black editor-in-chief in the history of Condé Nast. She stayed at the magazine until 2018, and after making Teen Vogue a trusted hub for marginalized voices, she continued to inspire her hundreds of thousands of Instagram followers with her empowering quotes and political stances. And, oh yeah, she also became the first Black judge on Project Runway. Now, you can buy her new book, More Than Enough: Claiming Space For Who You Are (No Matter What They Say), after its June 11th release.
As always, Welteroth is using her platform to create space for other women and nonbinary folks with Dove via Project #ShowUs. The initiative, which is in collaboration with Getty Images and GirlGaze, aims to create a massive digital library that highlights representation and demonstrates that beauty is whatever you believe it is. In anticipation of her first book's release, Welteroth spoke to HelloGiggles about the work she's done for representation and why diversity in the beauty industry is so important.
HelloGiggles (HG): Before you took over, Teen Vogue was known for fashion, beauty, and celebrity content. You kept the same blueprint, but you shifted the lens and broadened the scope, creating space for stories about the intersections of beauty, race, and politics. What inspired you to completely alter the direction of Teen Vogue?
Elaine Welteroth (EW): So coming into the job, I recognized that I had a unique perspective. I came from a background that people had never represented in those seats. People who look like me, who come from where I'm actually from, have never had an opportunity to have a voice at that decision-making table. And so I recognized that I had a unique opportunity and a unique responsibility to really give voice to those marginalized communities, and it became a priority for me. It also became a competitive advantage for me as an editor.
As I found my voice at Teen Vogue as an editor, I recognized the white space. I recognized that there were large [numbers] of young girls and young people that we just weren't speaking to holistically. We weren't acknowledging how multi-faceted that they really were, that they cared about fashion and beauty as well as politics and social justice movements. For me, and for the rest of the team at the time, it became really important for us to become this destination that celebrated all aspects of their identities…and I think the only way to do that authentically is when you identify with the audience.
So I think owning and embracing everything that [made] me authentically me, and bringing that into the role as a young Black leader, [helped] me do my most transformative work.
Eric McCandless, Freeform via Getty Images
HG: There are a plethora of problems plaguing non-white people in the world of beauty, from incorrect foundation colors to poor lighting on models' Black skin to not having the right hair products on set. What do you personally believe to be the most pervasive issue surrounding Black women and women of color in beauty?
EW: I think the most pervasive issue facing women of color in the beauty industry is a lack of representation behind the scenes. And, therefore, a lack of understanding about the subcultural differences. There is a real lack of education. I started my career at Ebony. I learned how to talk about beauty through a Black female lens. Then I moved on to Glamour and Teen Vogue, and I learned the vocabulary of speaking to a mass audience—which is code for a majority white audience. And so I had to learn about accenting beauty that did not necessarily impact me in my day-to-day life. I had to be an expert on beauty for everyone.
I had to learn about dry shampoo and how to volumize fine, straight hair, and how to color straight hair. I had to learn about sun-less tanner—things that I would never encounter in my own life as an individual, but that was my job as a journalist, as an expert in beauty, and what I realized…is that these white beauty editors were not held to the same standard. They were not expected to be experts on Black beauty or on beauty for Asian women, or Latinx [people]. There was this sort of unspoken expectation that we were all writing about, learning about, and talking about Eurocentric beauty. That's the standard. And anything else is a deviation. And I think that it is of a fundamentally flawed, biased mindset… And I see that changing with the conversations that are happening on social media around representation, around inclusion and diversity. But I think the changes, the structural changes, are taking longer to take hold.
Astrid Stawiarz, Getty Images for Dove
HG: So you are the first Black judge to be featured on Project Runway in its 15-year run. Other than the obvious impact of your representation, what other changes are you bringing to the show?
EW: In term of the changes that we are bringing to this season, I think, what I'm really proud of is it is the most diverse cast that America has ever seen from Project Runway. Project Runway is such a beloved show; it reaches millions of households globally. But this particular cast is truly inclusive in terms of racial diversity: in terms of gender identity, in terms of age…It really reflects what the world looks like today.
And I really am challenging the designers to not design to the vacuum. You no longer, as a designer, can approach your work in a vacuum. You have to take into account the conversations that are happening in the world culturally and make sure that you're being conscious of them, and not appropriating cultures that you don't understand, and also using your platform as an opportunity to celebrate your culture and your identity. We're seeing that on the show in really powerful ways. There's an episode coming out on May 15th where this is really prioritized. Each of the new judges had an opportunity to kind of craft our own episode, and my episode is around using fashion to elevate social causes.
HG: So, you've gone from magazine journalism, which can entail behind the scenes and desk work, to television, which centers your own being. It can be difficult to master such a seamless transition, but you're doing it! What has that pivot been like?
EW: Whether it's editing a magazine, writing a book, crafting an episodic script, or producing and working in front of the camera, at the heart of everything I do is a genuine passion for amplifying underrepresented perspectives through storytelling. That is what really drives me. While transitioning into new territories can be intimidating, the truth is that I have always imagined my career expanding across different mediums. Even at 21, when I entered the magazine industry all starry-eyed, I knew in my heart that there would come a point in which I would be ready to take my next leap. I just don't think I ever fathomed getting the opportunity to check off everything on my magazine bucket list by 30! But life has a way of preparing us for each step we take. I think our job is to absorb the lessons in each experience and then carry them forward into spaces that challenge us in new ways.
TV is such a powerful platform—it's having a bit of a renaissance right now. While, I'll admit, it's taken some time to get used to hearing my voice and seeing myself on screen every week, ultimately, I couldn't pass up the opportunity to play a part in re-energizing a beloved franchise like Project Runway and to collaborate with people I love. It's such a thrill for me to help re-imagine a show like this to better reflect our world and the conversations we are having now. As a first-time television producer, it's a really valuable learning opportunity.
HG: What message do you want to send to young Black girls and girls of color who are interested in entering the world of beauty—whether it be through modeling, journalism, or makeup artistry?
EW: You might feel like an outsider at times, but your perspective and your ideas are extraordinarily valuable. Your voice matters. If you find yourself in rooms where you are the first or the only one who looks like you, remember that it comes with a unique opportunity to represent for all the voices who aren't being heard in those spaces. It can be daunting, exhausting, and intimidating at times, but never stop pushing for change. Build alliances with a supportive tribe that sees you and lifts you up. And no matter what—when the world tells you to shrink, expand.
Project Runway's Elaine Welteroth explains why diversity in the beauty industry has to start behind the scenes


Occupied Jerusalem, ALRAY - Local committee of zoning and planning of Israeli municipality of occupied Jerusalem is to discuss Wednesday establishing 150 settlement units in Biet Haneena northern occupied Jerusalem , 75 of them are allocated for Israeli settlers and the rest for sailing to Arab.
The plan is drawn under the pretext of building for local residents of Biet Hanina to solve housing crisis, it aims to expand the settler's existence in the neighborhood as it will allocate 75 housing units for settlers.
Israel Hayom paper claimed that the allocated area for building is bought in 1973 by Israeli ambassador to Iran , however Palestinians lived in the area till 2012.
The Palestinian residents were expelled from the land and the residential building following a lawsuit filed by Aryeh King, a member of the Israeli municipality, who is the director of the Fund of Israel land.
Settlers took over the residential building from which the Palestinian residents were expelled. The building contains 4 residential units. The area of the land is 11 dunums. According to the municipality's plan, 8 residential towers will be built between 7 and 12 floors.
The neighborhood of Beit Hanina has 7 families of settlers and five single young men who seized property for Palestinians claiming ownership of these properties by forging documents.


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Joan Capdevila Méndez, född 3 februari 1978 i Tàrrega, Katalonien, mer känd som Capdevila, är en spansk före detta fotbollsspelare.

Klubbkarriär
Joan Capdevila kom genom RCD Espanyols ungdomssystem, och gjorde under säsongen 1998/99 sin debut för seniorlaget mot Athletic Bilbao, en bortamatch som slutade 2–2. Capdevila gjorde ytterligare tre framträdanden för klubben innan han följande säsong flyttade över till Atlético Madrid.

När Atlético Madrid efter säsongen 1999/00 blev nedflyttade till Segunda División tecknade Capdevila istället kontrakt med spanska förstadivisionsklubben Deportivo La Coruña. Han blev i positionen vänsterback snart ordinarie i laget, först med konkurrens från Enrique Romero och senare som det obestridda förstahandsvalet.

Sommaren 2007 anslöt sig Capdevila till Villarreal, och deltog under säsongen 2007/08 i 36 av klubbens 38 ligamatcher.

Han blev den 21 juli 2011 klar för portugisiska storklubben Benfica men hann bara spela 13 matcher. Efter många om och men slutade förhandlingarna mellan Benfica och Espanyol i en återvändo till moderklubben Espanyol.

Internationell karriär
Den 16 oktober 2002 gjorde Capdevila sin landslagsdebut för Spanien, i en match mot Paraguay där slutresultatet blev 0–0.
Han gjorde sitt första mål för nationen den 17 november 2007, i ett EM-kvalspel mot Sverige.

Den 6 februari 2008 gjorde Capdevila segermålet i en vänskapsmatch mot Frankrike.

Han var också uttagen i Spaniens EM-trupp 2008, då Spanien tog guld och Capdevila själv spelade i fem av sex matcher i turneringen. Han vann även VM 2010 med Spanien där han var en nyckelspelare, och han var den enda spelaren i finalen som varken tillhörde Barcelona eller Real Madrid.

Födda 1978
Spanska fotbollsspelare
Fotbollsspelare i RCD Espanyol
Spelare i Atlético Madrid
Spelare i RC Deportivo de La Coruña
Spelare i Villarreal CF
Fotbollsspelare i SL Benfica
Spelare i Lierse SK
Spelare i Europamästerskapet i fotboll för herrar 2004
Spelare i Europamästerskapet i fotboll för herrar 2008
Spelare i Fifa Confederations Cup 2009
Spelare i VM i fotboll 2010
Män
Levande personer
Tävlande vid olympiska sommarspelen 2000 från Spanien
Tävlande i fotboll vid olympiska sommarspelen 2000
Spanska olympiska silvermedaljörer
Olympiska silvermedaljörer 2000
Spanska landslagsspelare i fotboll
Världsmästare i fotboll

redpajama_set_name: RedPajamaWikipedia


Peasant Knight is an awesome puzzle/platformer I'm currently working on. It's coming to Steam, Nintendo Switch, 3DS, and more!
Monsieur Moustache is a cross-platform endless jumper written using the HaxeFlixel engine.
SkullRush is an extremely moddable 2D online multiplayer platformer shooter. The client acts as a canvas, and the server has almost complete control over the game's graphics, sounds, and logic.
There's out of the box support for custom game modes, custom game entities, custom graphics (that can even override the default game graphics if you want) and much more. Mod it enough and you can make into a completely different game!
It runs on the HaxeFlixel engine and uses my HaxeNet wrapper for networking. It uses OgmoEditor for mapping too.


Whether you're an eBay buyer or seller, we can bridge the gap between sold and delivered. We can economically pack and ship, crate and freight any item regardless of size or weight. We partner with UPS, FedEx, USPS, and all the major freight carriers in providing the lowest cost on the service that you require.


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May 2010, Volume 64, No.5
The Curious Case of the Epicurean Nut (Online Exclusive)
The Curious Case of the Epicurean Nut (Online Exclusive) GREGORY MÖLLER | May 1, 2010
A growing number of people are reporting that pine nuts literally leave a bad taste in their mouth. That reaction, along with a collection of other symptoms, has come to be labeled as pine nut mouth or pine nut syndrome.
Email Reprints Print
For about a decade, some people eating pine nuts have reported a range of adverse effects collectively known as pine nut mouth or pine nut syndrome (PNS). Simply put, pine nuts appear to be leaving a bad taste in the mouth of some folks. The medical term for this is cacogeusia, or specifically metallogeusia, which is a perceived metallic or bitter taste. We have all tasted bad or spoiled food at some time, but the curious wrinkle to pine nut mouth is that it often appears days later, sometimes lasting for weeks.
Photo copyright © iStockphoto.com/knape
Since toxicology is the science that deals with the adverse effects of chemicals, it is appropriate to explore this somewhat puzzling case with the tools of forensic food toxicology. Unlike the world of mystery dramas in books, film, and television, solutions to mysteries in science rarely show themselves within the time it takes to cook a pine nut pesto fettuccine. It is, however, helpful to invoke the deductive skills of Sherlock Holmes to try to understand the curious case of the epicurean nut. In the words of the great detective, the game is afoot!
So what do we know? The foodie and medical self-help blogosphere has experienced a significant uptick in "me-too" reports of pine-nut mouth. Raw, cooked, and processed nuts all seem to be associated with problems. There have been a few published clinical reports of patients who have eaten pine nuts and found themselves in a doctor's care (Mostin, 2001). A January 2010 case report in the Journal of Medical Toxicology calls PNS a possible "emerging problem" and describes a range of reported symptoms including bad tastes, nausea, and abdominal cramps (Munk, 2010). Anecdotal comments posted online also seem to detail episodes of residual food aversion and the experience of normally tasty foods, like hot cocoa, becoming horrible. The condition appears to self-resolve in time, apparently without long-lasting health effects.
Dealing With Adversity
PNS is in the general category of adverse food reactions broadly defined as a clinically abnormal response to food or food additives. Adverse food reactions include food allergy, food intolerance, and food sensitivity. About a third of us report we have a family member with adverse food reactions even though the actual number is probably much lower. For a particular food, some subpopulations or ethnic groups are more sensitive than others. We are all familiar with food allergies such as peanut allergy. In allergic people, pine nuts can trigger an immune reaction, and the response can be like that of peanut allergy or other common food allergens. The cascading immune reactions in a food allergy may include hives, welts, swelling, vomiting, diarrhea, and respiratory distress possibly leading to a generalized anaphylaxis that requires emergency medical attention. Researchers have identified a few proteins in pine nuts that can cause this life-threatening allergic reaction in those with diagnosed pine nut allergy (Hipler et al., 2004).
The clinical observations of PNS do not track well with pine nut food allergy symptoms as described in the medical literature, so then let us explore another type of food reaction known as food intolerance. Food intolerance often results from a metabolic disorder. The best example is people who are lactose intolerant; Hippocrates of ancient Greece first described this malady. These dairy product–sensitive folks have a metabolic disorder, sometimes because of aging, that limits the production of the digestive enzyme to process the lactose in dairy products. Left to the action of intestinal bacteria, the gaseous by-products of bacterial lactose digestion produce the characteristic bloating, cramps, and other uncomfortable effects experienced by the lactose intolerant after eating dairy products. Lactose intolerance is a well-studied metabolic disorder. Could pine nut syndrome be a similar metabolic disorder? The list of foods with the potential for metabolic disorders is long and includes common foods such as chocolate, some fruits, beets, some beans, and red wine. It is possible that PNS is a metabolic enzyme deficiency–related food disorder. However, people have been eating pine nuts for a long time, and we have not really heard much about PNS, even in recent history. The long-lasting effects of PNS in some people, well beyond times required for processing in the intestinal tract, would seem to argue against a metabolic disorder.
So where are we left? We fall to the category of food sensitivities called idiosyncratic reactions or individual hypersensitiveness. Another way to say this is that our personal genetic oddness can be responsible for our individual reactions to different foods. If we categorize PNS in this group of idiosyncratic reactions, it would have the company of celiac disease, sulfite sensitivity, aspartame sensitivity, and sensitivity to a range of other foods and food additives. A key concept is that there is a range of sensitivity, and some people experience a greater and often less-tolerable level of adverse reaction to a food. Often, we do not know the precise mechanism of idiosyncratic food sensitivities, and at this point, we certainly do not know the mechanism of PNS.
Bad Taste and Regulatory Science
The UK Food Standards Agency and the U.S. Food and Drug Administration have started collecting data on PNS although bad taste may not be a food safety issue. The French food safety authority (AFSSA) released a preliminary report late in 2009 that attempted to collect available knowledge about PNS (AFSSA, 2009). Although detailed data is lacking, there have been 800 reported cases of PNS in France since 2001. There is a high degree of variability in the description of symptoms, in the range of pine nut dose to induce effects, and in the duration of PNS. This is consistent with idiosyncratic food sensitivity. The AFSSA report briefly reviews some of the natural and synthetic chemicals that can taste bitter, noting that no analysis in their regulatory food safety screening has detected evidence of chemical, mold, or bacterial contamination in pine nuts related to PNS cases. There have been some similar tests performed by organizations in the pine nut trade or clinical diagnostic laboratories in PNS case follow-up, with similar negative or nonconclusive results.
The scientific sleuthing and range of laboratory tests involved in forensic toxicology can often exceed the requirements for food safety regulatory screening. While to date there has not been a pattern of detection of contamination by chemicals like heavy metals, pesticides, pathogenic bacteria, or molds and their mycotoxins in pine nuts, we have to respect that perhaps we have not been looking for the right toxic agent. Real toxicology is rarely as simple as television depictions such as those portrayed on CSI episodes. Perhaps the strongest argument against a toxic chemical or pathogenic microbial contamination is the apparent PNS incidence in several Western countries across a diverse international pine nut production and distribution chain. Contamination is possible, but source and distribution diversity in the pine nut production system discount this potential.
Botanical Origins
Several recent scientific papers and the French report cite changes in pine nut production and distribution as a possible link to PNS (AFSSA, 2009; Destaillats et al., 2010; Munk, 2010). To explore this, we have to explore what exactly a pine nut is. A pine nut is not a nut at all; it is a seed. Pine seeds come from the cones of various pine tree species in the Pinus genus. There are between 100 to 150 pine species worldwide. In recent times, demand has exceeded local production in many areas, and exports into the world market, principally from China, Pakistan, and Turkey, have increased significantly. The Food and Agricultural Organization of the United Nations (FAO) lists 29 Pinus species seeds used as food in common and indigenous peoples' diet (FAO, 1998). FAO documents the use of pine nuts from ancient history to its current use as a foodstuff and a source of food oil. The major nutritional components of pine nuts include protein, fats, and carbohydrates. Like many other nuts and seeds, the approximate 30–70% oil content in pine nuts mostly includes those unsaturated fats regarded to be nutritionally good fats (Wolff and Bayard, 1995).
With the recent milk adulteration episode in China, there is concern expressed in the published scientific reports, including the French report, about similar contamination problems in Asian pine nuts. The contamination problem cited, however, quickly shifts to a problem of pine species contamination. With well over 100 pine species across the globe and only 29 listed by FAO as foodstuffs, we do not have to be too imaginative to recognize that PNS might well be the result of a new species of pine nut recently introduced into the food system that crosses the line of edible to nonedible.
In January of 2010, Nestlé researchers reported a study of the botanical origins for a range of pine nuts, including a sample linked to an episode of PNS (Destaillats et al., 2010). Using the chemical fingerprint of the type of fats in the nuts, the scientists were able to isolate two Asian pine species known as Chinese white pine (P. armandii) and Chinese red pine (P. massoniana), neither of which are a common edible pine nut in Western countries. Chinese red pine, also known as Masson's pine, is an important pine species for the production of rosin and turpentine. Pines produce a range of terpenoid compounds, such as the bitter compound abietic acid, and these compounds help protect seed-bearing pinecones from insect and fungal attack. Although FAO does not list Chinese white pine nuts in their edible pine nut compendium, the PNS patient sample in the Nestlé study contained this variety. The French food authority and the recent Journal of Medical Toxicology paper also discuss a link between Chinese pine nut species and episodes of PNS. At present, none of the data is conclusive, but the suspected PNS link of a particular pine species, perhaps newly introduced into the Western food system, is important and curious.
Chemicals of Nature
Different species of pine nuts can present different chemical compositions that reflect nutritional value; taste and smell sensory properties; cooking and processing properties; and the toxic or health-enhancing effects of the peculiar types of secondary or trace chemicals found in every plant foodstuff. The Nestlé study examined the fatty acid profiles of different pine nuts and found that the Chinese varieties were not substantially different, and thus the lipid fraction of the pine nut is an unlikely agent of PNS. Nut oils can turn rancid, and this will affect taste, edibility, and potential toxicity. Harvest practices, shelling, processing, packaging, and exposure to light and air over time contribute to the oxidation of nut oils. Studies of the oxidation of pine nut oil show that its oxidation properties are not very different from other nut oils, and probably not different enough to present a syndrome unique in nuts (Miraliakbari and Shahidi, 2008).
It is possible that rancidity plays a role in PNS, but the delayed onset and long-lasting nature of the metallic or bitter taste sensation is not consistent with common experiences found with consumption of rancid vegetable oils that include the foul smell of the chemicals formed by lipid oxidation. Thus, as a premise in our deductive analysis, it is unlikely that product rancidity is a strong factor in PNS. The irritating terpenoid compounds found naturally in pines may play a role in the adverse response if these compounds occur in significant levels in new varieties of pine nuts used as food.
(Dys)Functional Food
There are a wide variety of bioactive chemicals in plants and their seeds, and the medicinal uses of herbs and plant extracts are familiar to most people. Pine nuts are no exception. For example, pinolenic acid is a polyunsaturated fat in pine nuts that stimulates the enteroendocrine system to produce the hormone cholecystokinin (CCK) (Hughes et al., 2008). The levels of pinolenic acid in the range of pine nuts studied by Nestlé are not particularly different; however, the presence of this bioactive chemical and others found in typical and common dietary species of pine nuts may be significant. For example, in 2008, Dutch researchers showed that oil from the Korean pine nut (P. koraiensis) was eight-fold more potent in releasing CCK than Italian stone pine nut (P. pinea) (Pasman et al., 2008). The release of CCK tells the brain you are full, and so it is valuable for appetite suppression. We produce CCK in the upper part of the small intestine, and it stimulates the production of digestive enzymes, slows emptying of the stomach, and causes a contraction of the gall bladder to release bile into the lower part of the stomach called the duodenum, while increasing the production of bile in your liver. Bile aids in the digestion of fats.
In medical terminology, pine nuts are choleretic (increases bile production) and cholagogic (increases bile release from the gall bladder into the duodenum). Research originally published in 2005 and reviewed in 2008 shows a particular hormone, called FGF19 in humans and FGF15 in mouse models, is produced in the small intestine and that it can similarly regulate bile production (Inagaki et al., 2005; Jones, 2008). It is still too early in the research cycle to know if the bioactive compounds in pine nuts directly affect FGF19; however, it is a good candidate for further study since pine nut fatty acids should be able to interact with fat-responsive chemoreceptors that influence bile production. Excess bile can cause the metallic, bitter taste noted in PNS, as well as the characteristic bile-green coloring of stool anecdotally reported by some people after consuming pine nuts. Thus, in our deductive logic, we have established a general premise that some species of pine nuts can enhance bile production and release, and, furthermore, the taste sensation in PNS is consistent with bile reflux.
One of the more curious and diagnostically challenging aspects of PNS is the reported long-lasting bitter taste and food aversion dynamic, often as a delayed response. For our deductive analysis, we need to explore the neurobiology of taste. All of us are somewhat familiar with the sensory taste buds on our tongues. Bitter taste sensation is thought by evolutionary biologists to be a protection against eating toxic or harmful foods. Regardless of what you think about the toxic risks of our modern world, the plants and animals in nature have developed an impressive arsenal of highly potent, interspecies chemical warfare agents that assist in their overall survival. Many of the most toxic natural products have a distinctive bitter taste for humans. When foods contain desirable tastes, such as sweetness, mixed with undesirable tastes such as sour, we sometimes have to overcome our neurobiology to "acquire" a taste for that food type. A bad taste experience with a particular food is a key formative process in the development of food aversion, and for some, this neurological conditioning can make just the thought of a particular food inspire the vomit reflex.
The neurobiology of taste is even more complex than you thought, because taste is not only on the tongue. Research in the past decade has shown the presence of taste receptors in the gastrointestinal tract (GIT) (Wu et al., 2002). "What's that?" you say, "taste in my gut?" At the risk of ruining the experience of your next meal, we need to explore this curious sensory dynamic. We now know that we have bitter taste receptors, similar to taste buds, in our GIT. Science can often determine the "what" and "how" of nature, but it is often not well tasked to the "why." Taste neurobiologists figure that if many toxic compounds in nature evoke a bitter taste, having these taste receptors in our gut provides an additional level of potential, taste-driven, "rejection and expulsion" of toxic food. Digestive and metabolic processes may, in fact, enhance the presentation of natural toxicants, and having a second line of defense would be good for survival. There is a cross wiring of the brain's neurological sensation of tongue bitter and GIT bitter; thus, you may not realize that apparent bitter taste in your mouth is really the taste in your gut. That is a little unsettling for most of us to imagine.
In case reports of PNS, the taste disturbance can last for weeks. It is straightforward to speculate that bioactive compounds in some species of pine nuts have a more pronounced choleretic and cholagogic response leading to bile reflux and direct tongue bitter taste or, alternatively, that the bioactive compounds directly stimulate bitter taste receptors in the gastrointestinal tract. Nevertheless, we still need a premise in our deductive approach to explain the long-lasting effects, well beyond digestive cycle times, experienced by some with PNS. One explanation can be the sensitivity of bitter taste receptors to some of the particular bioactive compounds and their digestive metabolites in certain pine nuts, perhaps with a residual memory effect. Our current understanding of taste receptor neurobiology does not account for a similar absence-of-stimuli, "ghost limb" sensation experienced by amputees, but there may well be answers found in future psychophysics research about taste receptors and their long-term memory interactions with chemicals in food.
A quirk of human digestive biology may be one of the most important dynamics in our deductive process to explain PNS. First, we need to review some anatomy and physiology. When we eat, the nutritional building-block molecules of life are absorbed in our digestion system. The absorbed molecules get a quick push by the blood stream directly to the liver so it has a "first-pass" ability to metabolize nutrients and engineer many of the complex proteins, enzymes, and biochemical substrates required by our bodies. The liver also uses this first-pass to detoxify potentially toxic compounds and set them up for elimination. One process the liver uses to remove waste products and metabolites is through bile ducts, along with the components of bile, allowing the gall bladder to release the processed metabolites back into the digestive tract for fecal elimination. We call this biliary excretion. The release of bile fluids happens through a small nipple, wonderfully named the Ampulla of Vater, which lies in the duodenum, the transition between your stomach and small intestines. Remember that the big action of nutrient and other chemical absorption happens in the next 20 feet of the small intestine, so there is plenty of opportunity for some chemicals or metabolites previously processed by the liver to be reabsorbed and returned to the liver via the portal vein, for yet another pass by the liver. We call this remove-recycle-repeat process enterohepatic recirculation (EHR).
We know EHR can dramatically extend the residence time of some chemicals or drugs in the digestive tract, and, for toxic compounds, there is a potential for enhanced toxicity, especially liver toxicity. There are a good number of known, possibly toxic compounds in various pine species, and some additional laboratory detective work may help isolate the specific offender responsible for PNS. The potential for adverse interaction of pine nut chemicals with other foods or pharmaceuticals is also possible. It does not require too much imagination to develop a PNS deductive premise that a bioactive molecule or group of molecules in some pine nuts undergoes EHR. The recirculation of such a chemical or its metabolite may trigger the choleretic and cholagogic response we have discussed, or possibly the GIT bitter taste receptor in a direct manner, leading to the observed delayed or extended dynamic of the syndrome. Numerous other indirect mechanisms of PNS triggering could also involve EHR. Thus, we have a final premise to our deductive process that some natural chemicals in some pine nuts may have extended GIT residence time, and presumably extended opportunity for adverse effects, because of EHR.
A Holmesian Deduction
So we have a set of premises, perhaps some weaker and some stronger, to perform our Holmesian deduction on the curious case of the epicurean nut. We can deduce that PNS is an idiosyncratic adverse food sensitivity arising from a bioactive natural chemical or group of chemicals in a newly introduced dietary pine nut species. This chemical or group of chemicals is choleretic and cholagogic, or reactive with the bitter taste receptor of the gastrointestinal tract, and capable of enterohepatic recirculation. Sherlock Holmes' compelling deductive powers would weaken the resolve of the most diabolical criminals into confession. In science, we use that similar deductive approach to formulate testable hypotheses, and the confession lies only in the data of well-designed experiments. Scientists are a unique breed of detective, and this and other PNS hypotheses will rise or fall on the data produced in future research.
For those who have experienced PNS, avoiding pine nuts is advisable, since your dietary "oddness" is much like my left-handedness and the continuing frustration of right-handed scissors. For those experiencing PNS, pine nuts can be uncomfortably toxic. Pine nut syndrome demonstrates in a clear way our special individual relationship to food. As we move farther and farther away from the production side of food, we rely more and more on a system of reliable strangers to grow, process, and prepare our food. It is important for this system to be responsive to quality concerns about the introduction of what may be an inedible species of pine nut into the food chain. At the end of the day, we as individuals are responsible for what we eat. Choose wisely. FT
Gregory Möller, Ph.D., is Professor, University of Idaho-Washington State University School of Food Science, Moscow, ID 83843-2312 (gmoller@uidaho.edu).
AFSSA. 2009. Information regarding reports of bitter taste following consumption of pine nuts. Request no. 2009-SA-0166:1-2. Agence Française de Sécurité Sanitaire des Aliments, Maisons-Alfort.
Destaillats, F., Cruz-Hernandez, C., Giuffrida, F., and Dionisi, F. 2010. Identification of the botanical origin of pine nuts found in food products by gas-liquid chromatography analysis of fatty acid profile. J. Agric. Food Chem. 58(4): 2082-2087.
FAO. 1998. Seeds, Fruits, and Cones. Chpt. in "Non-Wood Forest Products from Conifers," Food and Agriculture Organization of the United Nations, Rome, Italy.
Hipler, U.C., Spoo, J., Elsner, P., and Bauer, A. 2004. Anaphylaxis after ingestion of pine nuts. Allergologie 27(11): 462-467.
Hughes, G.M., Boyland, E.J., Williams, N.J., Mennen, L., Scott, C., Kirkham, T.C., Harrold, J.A., Keizer, H.G., and Halford, J.C. 2008. The effect of Korean pine nut oil (PinnoThin™) on food intake, feeding behaviour and appetite: A double-blind placebo-controlled trial. Lipids Health Dis. 7(6): 1-10.
Inagaki, T., Choi, M., Moschetta, A., Peng, L., Cummins, C.L., McDonald, J.G., Luo, G., Jones, S.A., Goodwin, B., Richardson, J.A., Gerard, R.D., Repa, J.J., Mangelsdorf, D.J., and Kliewer, S.A. 2005. Fibroblast growth factor 15 functions as an enterohepatic signal to regulate bile acid homeostasis. Cell Metab. 2(4): 217-225.
Jones, S. 2008. Mini-review: Endocrine actions of fibroblast growth factor 19. Mol. Pharmaceut. 5(1): 42-48.
Miraliakbari, H. and Shahidi, F. 2008. Oxidative stability of tree nut oils. J. Agr. Food Chem. 56(12): 4751-4759.
Mostin, M. 2001. Taste disturbances after pine nut ingestion. Presented at the XXXVIII Congress of the Society for Clinical Toxicology (abstract). J. Emerg. Med. 8(1): 76.
Munk, M-D. 2010. "Pine Mouth" Syndrome: Cacogeusia following ingestion of pine nuts (genus: Pinus). An emerging problem? J. Med. Tox. DOI: 10.1007/s13181-009-0001-1.
Pasman, W.J., Heimerikx, J., Rubingh, C.M., van den Berg, R., O'Shea, M., Gambelli, L., Hendriks, H.F.J., Einerhand, A.W.C., Scott, C., Keizer, H.G., and Mennen, L.I. 2008. The effect of Korean pine nut oil on in vitro CCK release, on appetite sensations and on gut hormones in post-menopausal overweight women. Lipids Health Dis. 7(10). DOI: 10.1186/1476-511X-7-10.
Wolff, R.L. and Bayard, C.C. 1995. Fatty-acid composition of some pine seed oils. J. Am. Oil Chem. Soc. 72(9): 1043-1046.
Wu, S.V., Rozengurt, N., Yang, M., Young, S.H., Sinnett-Smith, J., and Rozengurt, E. 2002. Expression of bitter taste receptors of the T2R family in the gastrointestinal tract and enteroendocrine STC-1 cells. Proc. Nat. Acad. Sci. 99(4): 2392-2397.


Andy Partridge shows no sign of letting his bitter wit dull with age.
XTC fans are a lot like Andy Partridge, the British art-pop band's lead singer and songwriter: perennial outsiders.
Are there any other kind of fans who would stand in line waiting for their hero to appear without speaking to each other? Only ones who, like Partridge, are deeply conversant with being out of sorts in the world.
They look shifty, these fans amassing quietly, very quietly, in the basement of Toronto's Tower Records. Some of the men there -- and they are mostly men in their mid-to-late 30s -- are wearing little round glasses just like the ones Partridge wears. Some are clutching vinyl albums released earlier in the band's 20-plus-year career; others have copies of Apple Venus Volume I, the band's first new album in seven years, an eclectic 11-song collection featuring a 40-piece orchestra.
Perhaps they are wondering just what exactly they are doing participating in an autograph session, this most conventional of rock traditions. After all, Partridge is an eccentric Brit; his lyrics over the course of 12 albums are often intellectual word plays, and his music is as experimental as pop can be while still being hummable.
If the fans aren't comfortable, the discomfort is more than shared by the object of their adoration.
"The fans are rabid," Partridge says. "I think they need injections. I don't know if it's a final injection."
As he says this, his eyes appear to twinkle. Actually, sitting on a hotel couch, looking cheerfully expansive in checkered pants, a vintage brown-leather jacket and green T-shirt, all of the 46-year-old seems to twinkle, especially when he says something particularly nasty.
Perhaps more than most other musicians, Partridge can afford to be provocative about everything: former bandmates, producers, the music business, and one of his favourite whipping boys, religion. With songs like The Mayor of Simpleton, Dear God, Making Plans for Nigel, Senses Working Overtime, The Ballad of Peter Pumpkinhead -- the latter of which was covered by Canada's Crash Test Dummies on a 1995 XTC tribute album and which also appeared on the Dumb and Dumber soundtrack -- he has established himself as more of an acerbic poet than a pop star.
Most important, he has little left to lose. In 1982, after a series of severe panic attacks on stage, he vowed never to play live again, a promise he will keep for this album. For the past seven years, the band was on strike as a result of a contractual dispute with Virgin Records. Virgin eventually released them from their contract. His wife left him. (Partridge recorded the experience -- and now regrets including it on the album -- in Your Dictionary, a perfectly chilling and bitter tune that will surely become a classic in the library of pop's jilted songs.) For a while, he was afflicted by an ear problem that wreaked havoc on his ability to write. When the band finally made it to the studio, they repeatedly ran out of money and lost a producer. Perhaps most important, Dave Gregory, the guitarist who had been with them for 20 years, walked. XTC is now made up of Partridge and bassist Colin Moulding.
"The funny thing is, the worse things got, the more I wanted to write songs," Partridge said. "It filled me with this religious fervour, this jihad, to get the record out. . . It's the bloody-mindedness. Anything is possible if you keep banging your head against a wall. One day the wall will fall down."
Partridge is nothing if not bloody-minded. He is not a "selfish" person, he says, but he is selfish creatively. Not only can nothing stand in his way; if it does, Partridge will find a way to sting back.
Gregory was quite outspoken when the band was making the album. He wanted the current album to include both electric and acoustic tracks, as opposed to waiting until Apple Venus Volume II (due out later this year) for the electric songs. Partridge said no.
"It became impossibly negative to go into the studio every day with Dave there shaking his head, going 'It's all crap.' I was rehearsing a way to fire him, which was incredibly hard after 20 years, you know. And he left. So he saved me from doing that," Partridge says.
Partridge also doesn't mince any words when talking about his much-publicized clashes with Todd Rundgren, who produced 1986's Skylarking. "When you put matter and antimatter together, you get a big bang, but you don't necessarily get along. It was one little bunker with two Hitlers in it. I just didn't want to be Goering."
As a young lad, Partridge must have been less aggravated. Indeed, his childhood sounds quite proper and quaint. It also served as the inspiration for much of the current album.
"The reason I think I had a real jones to work with an orchestra is because of this musical stuff I was exposed to as a kid. You'd sit there drawing on your butcher paper, drawing Spitfires or whatever, and listen to comedy rock 'n' roll. And while you'd sit there, you'd think 'Oh, I'd wish they would play that new Anthony Newley record' or some goofy thing. But you'd have to sit through My Fair Lady, South Pacific, Oklahoma, not really registering it. But boy, it went in deep."
Even now, Partridge says he thinks of songs as colours -- Apple Venus is browns and greens -- and as stage sets. For this release, a lot of the stage sets in his mind were those of pagan celebrations. Partridge is well-acquainted with the controversy his religious comments can generate. Skylarking, for example, sold a half-million copies in the United States on the strength of Dear God. A classic crisis-of-faith song, it was pummelled by religious groups and embraced by college radio stations.
On the new album, Greenman and Easter Theatre are specifically rewritings of Christian myths. The Greenman, Partridge says, is a pre-Christian spirit of the trees representing the eternal male. "I thought, 'Wouldn't it be nice if you want to worship something, it would be something more natural.' I would rather worship a tree than the image of someone being tortured with nails through them."
Perhaps now, more than in their heyday, when their brand of complicated pop lived side by side with the whole New Wave of art-school songwriting, XTC have few competitors.
Still, Partridge is suspicious. "I was mentally preparing for a kicking and everyone is saying, 'It's great.' . . . I think, 'Is it a ploy? Are they going to lop my head off if I come out?' "
Quite predictably, he's rather annoyed by the tone of the acclaim. "Several people have used the word 'comeback' and there's nothing to come back to, you know. We haven't exactly been allowed in to warm ourselves by the fire.
"As far as I'm concerned, we were always looking in the window."


text:
This Arab Is Queer: An Anthology by LGBTQ+ Arab Writers
By (author) Jahshan Elias
within 14 to 24 business days
This Arab is Queer is a ground-breaking collection of eighteen short memoirs and essays. Telling their truths with integrity, wisdom and wit, LGBTQ+ Arabs share their realities of what it is like to love freely in a place called home.
These personal stories come from across the Middle East, the diaspora and from the most unlikely of places: living incognito in Saudi Arabia; the Libyan desert during conscripted military service; making it happen as an exile in Manhattan. They also come from the heart - from a concert in Cairo where the rainbow flag was raised to a crowd of thousands, and from whispers between lovers, caught between the bedsheets.
Contributors range from prize-winning novelists to those forced to use a pseudonym for their own safety. Here, for the first time, queer Arabs show us the view from where they stand; opening a window into a bigger, brighter world.
Saqi Books
Date of Pub.:
Weights:
204.12g
Ms. Annie Chau
annie.chau@apbookshop.com
Fax No.
Mon to Fri: 9am to 6pm
Sat, Sun and Public Holidays: Closed


I'm on my 5th week of Medifast and I've had my biggest loss this week which I'm really excited about! However, I've found that I was much hungrier this week than I have been in the past. By the time lunch rolls around, a small thing of chili or soup doesn't seem to be enough to satisfy me. Any thoughts on why I'm so hungry and what I can do to satiate the massive hunger I'm feeling around lunch time?.
I sometimes split my lean and green between lunch and dinner if I am in one of those hungrier than usual phases. Or, I'll have a Medifast lunch but with some added protein that I count as part of my lean. That seems to help..
I have been ravenous this week also. Week 5 too. I even commented to my hisband about it. (ok I was whiney) I added a little extra protein when a Medifast meal just would not cut it! I grill chicken breasts all the time and freeze them, so I cut a small paice off and ate it. It worked, but right now sitting here starving...............again. Who knows..
Thank you all for the wonderful suggestions. I had my weigh-in today and spoke with my counselor about the hunger issues I've been having. She suggested that I go ahead and add the optional snack to my day (got some Ranch Soy Crisps..YUM-O) and also add a little protein to my lunch. So we'll see how that works!.
Thanks so much for all the support and encouragement. It's great to know that I'm not alone..


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The staff are always happy to help, and they provide fast, friendly support."
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It is cost-effective and simple to use.
The team are very easy to deal with."


Odyssey Logistics & Technology (OL&T) delivers a comprehensive portfolio of managed logistics, international freight forwarding, carrier management, supply chain consulting, and third-party services. Millennia made its first investment in Odyssey in 2004 following Odyssey's spinout from Union Carbide. The company's solutions allow companies to completely outsource their logistics needs, or use targeted solutions to address specific areas of logistics and supply chain management. The company's solutions provide customers with substantial benefits including cost savings, improvements in customer service, and supply chain management efficiencies. Odyssey leverages its proprietary technology platform to provide these specialized logistics services to its customers. Odyssey has implemented its technology platform across Europe as well as launching its business in the Far East, giving the company a global platform unique in its industry. The logistics industry is undergoing a significant process of consolidation, and Odyssey is taking advantage of a proprietary source of high margin acquisition opportunities. It has made thirteen acquisitions to date that have enabled the company to add to its solutions set, reduce costs, provide cross-selling opportunities and add significant incremental revenue and EBITDA.


text:
Q: How to make a function when pressing a button in KOTLIN I created a function called "talk" so I want to press a button to execute "talk". I put this to do in the activity_main.xml and everything works fine. The problem comes when I don't want to do it by activity_main but by code in Mainactivity.kt. After the "talk" function is executed I want to make a condition. and I don't know how to do both when pressing the button.
imageButton.setOnClickListener{
talk()
if (textView3.text=="hello") {
textView.visibility = View.VISIBLE
} else {

}
}

this is the code of the function ""talk"" :
fun talk(v: View) {
        val intentActionRecognizeSpeech = Intent(
                RecognizerIntent.ACTION_RECOGNIZE_SPEECH)
        // Configura el Lenguaje (Español-México)
        intentActionRecognizeSpeech.putExtra(
                RecognizerIntent.EXTRA_LANGUAGE_MODEL, "es-MX")
        try {
            startActivityForResult(intentActionRecognizeSpeech,
                    RECOGNIZE_SPEECH_ACTIVITY)
        } catch (a: ActivityNotFoundException) {
            Toast.makeText(applicationContext,
                    "Tú dispositivo no soporta el reconocimiento por voz",
                    Toast.LENGTH_SHORT).show()
        }
    }
}

A: At the time of initialization give visibility of textview then onclick give visibility to visible.

A: I guess you are trying to do something like this. Make sure you are using activity-ktx:1.2.0-alpha02 or higher
class MainActivity : AppCompatActivity() {
    val talk = registerForActivityResult(ActivityResultContracts.StartActivityForResult()) {
        val text = it.data?.getStringArrayListExtra(RecognizerIntent.EXTRA_RESULTS)?.get(0)
        if (text != null && it.resultCode == Activity.RESULT_OK) {
            textView3.text = text
            if (text == "hello") textView.isVisible = true
        }
    }

    override fun onCreate(savedInstanceState: Bundle?) {
        ...
        imageButton.setOnClickListener {
            val intent = Intent(RecognizerIntent.ACTION_RECOGNIZE_SPEECH)
                .putExtra(RecognizerIntent.EXTRA_LANGUAGE_MODEL, "es-MX")
            talk.launch(intent)
        }
    }

}


Responsibility at CBS. Developing current and future leaders of businesses and society entails living up to international standards such as the United Nations' Principles for Responsible Management Education (PRME). The six PRME principles constitute the foundation for the work we do on responsible management education.
CBS celebrates United Nation's 73rd birthday!
CBS PRME goes to Pride!
CBS is a pioneer in embedding UN Principles for Responsible Management Education (PRME) and is currently reviewing everything we do through this lens. It is the ambition to make responsible management development an integral part of our core activities both in research and education, while looking for examples through our own organizational practices in the delivery of our services.
Our membership as champions is a recognition that reflects CBS's commitment and contribution to the PRME initiative. It is with great pride that we are responsible for being one of the PRME Champion Schools in further development of responsible management. We have been actively engaged with the United Nations Global Compact (UNGC) and other PRME schools, which have led to various projects, such as curriculum development and other PRME activities. Furthermore, we have been engaged with the UNGC network, in particular the Danish network, to help strengthen the cooperation between our business school and different industries.


ang napili ng mga taga-hanga: Who the heck knows?
Who is your paborito supporting character on Scrubs?
Who would you like to be YOUR doctor at Sacred Heart?
What music plays in very-very beginning of 421 - My Lips Are Sealed?
"Scrubs"'s Janitor, Neil Flynn, is performing in the Del Close Award for the Advancement of Improvisation presented sa pamamagitan ng Charna Halpern with The Family, June 12th at 9 pm at iO West! Tickets are only $25!
Anywho, I apologize profusely for not being able to post the Scrubsies. If desired, I could organize another one? Let me know guys, I'd pag-ibig to do it.
Hoping you have a happy and healthy holiday season!
link is an inspiration to every person who wants to become an actor or actress. She shows the world that through hard work and determination one can achieve his or her dreams. Judy Reyes helped many kids realize that a dream is never too out of reach or too out of hand. Reyes helps children realize that sa pamamagitan ng hard work and determination one can and will achieve a goal.
O.K., I kinda forgot about this, plus, these are getting harder to write because I have to keep them from getting too repetitive, so it's been ages since the last one, anyway, here's part two, I've also decided to end every season with a tuktok 5 for that season.
The pamagat of this artikulo may sound rather cynical, especially as it follows the wonderful new webisode made sa pamamagitan ng the interns, but it is, in my opinion, true: The new interns that now roam the halls of Sacred puso could never match up to the ones that were in the same position 8 years ago. This is allowing for both the fact that these new characters will grow and the fact that they will have an excellent scrubalicious production team behind them.
When J.D. and Elliot first sleep together, who initiates it?