text:
The One & Only Elgon
Where the Magic Is Real
Pandaverse Video Links
Tag: geeks
Geek Week Special: Twenty Years On A Computer – Part 1
July 1, 2014 July 1, 2014 Elgon Williams, Author
As a computer geek I have officially proclaimed this a Geek Week and as such I'll be posting a nostalgic story about my personal evolution with computers. Some may find the references to older hardware quaint. Others may empathize with my quest for knowledge as I recount going from computer novice to computer guru. But I think anyone who has ever used a personal computer will be able to relate to a lot of this.
Actually, it was twenty and a half years ago that I started to use a personal computer. It's just that except for playing solitaire most of the time I sat at my desk staring at the Windows 3.1 screen filled with icons wondering why I ever paid $1600 for a machine that substituted for a deck of cards.
I worked in retail management, so I didn't have a lot of free time anyway. The computer was something I resisted buying for as a long as possible because I'd heard they become obsolete really fast. It was January when my now ex-wife decided we needed to look for a computer, ostensibly for the kids because our son was seven going on eight and our oldest daughter was in kindergarten while my youngest was in preschool. I suppose it sort of made sense. We could foresee that the kids were going to grow up in a world of computers and we wanted them to have every possible advantage in life.
We went to the nearest Nobody Beats The Wiz store in Meriden, CT. It was just a few miles from where we lived in Wallingford. They were having a sale on some things, as always and were offering special financing on their store credit card. We had one of those too. I'd heard about PC's and Macs, of course. The store carried both platforms. I didn't have a side in that battle because I never thought I needed a computer. The store carried both so I figured we'd get the story and make a choice.
I liked the way the Macs looked as opposed the variety of PC's but in my wife's logic PC's were better because there was more software titles available. As we perused aisle after aisle of boxes of PC software she continued to make her point. Then she stopped at the section for Mac and pointed out how few the options were, with a waving gesture and a vocalized, "See."
I shook my head. "It looks to me like everything you need to do on a computer is pretty much covered right here, though." I pointed out that the couple of software vendors representative supported the Apple platform very well. "I mean how many different word processors do you need for a computer?"
"We need PC. It does Windows." She explained in her customary truncated way with a Korean accent. She didn't see my point. Neither did she want to acknowledge that Microsoft, the maker of Windows for the PC, was one of the software developers for Macs. Her mind was made up and I knew form experience there wasn't a point in debating the matter further. The number of software titles available was the only reason we ended up looking at PC's as opposed to Macs.
The salesperson was helpful enough in supporting her cause. Personally he owned a PC and claimed that everyone he knew who had a Mac complained about having compatibility issues with PCs. Then he went over the differences between IBM's line of computers and the various 'clones'. "We buy the real thing," my wife said. So we opted for the IBM Consultant line of computers. There were essentially two models we were deciding between. One sported a zippy new Intel Pentium running at a blistering 60Mhz. The price for the latest system including a 14 inch monitor was $2400. The other was last years state of the art checking in at $1600. I was thinking along the lines of getting the best available because it would have at least a year less obsolescence, but the salesperson said there was a error in the Pentium's math co-processor. Not that it was really going to cause any problems for anyone using it for a home computer but that soured my wife on the Pentium. Also she saw the Intel 486 25MHz model as a viable alternative, kind of 'on sale'. It looked almost exactly like the Pentium model, ran all the same software and it could be upgraded with a chip to run at 50 MHz. In fact, the salesperson explained we could upgrade the modem from 300 baud to the lasted thing which was a 28,800 bps deluxe modem – except that he said the fasted online services available used either 9,600 or 14,400. The system came with 4MB of RAM and a 170MB hard drive. The RAM could be upgraded as could the hard drive, the salesperson explained, but the system used something called disc compression to more efficiently use its space so it was like having 240 MB of room.
All those numbers and options swirled around in my head. At the time I barely knew anything about computers. When I was in college we used mainframes to write batch programs on punch cards. Right before I graduated the upperclassmen in computer science were allowed to use the CRT terminals to process their programs. I had been pretty good at writing programs, though. So I sort of fancied the idea of maybe buying the software for writing programs for a PC and selling them on the side.
We got the system home, unpacked, hooked up and I turned it on. It booted up successfully to the Windows screen. Success! Now what?
"You figure out," my wife said. "You show kids."
Six months after the purchase, I was still trying to figure out a lot of things about the computer. For one, why did I needed AOL, Prodigy and Compuserve? Couldn't I just use one or the other of them for connecting to this thing called The Internet so I could start sending and receiving emails? Oh, and by the way, who was I supposed to be sending emails to anyway? Except for a few guys at work, I didn't know anyone who had a computer. Which one of the online services was better? That was the essence of my dilemma. The few times I had been online using Prodigy, I noticed how slow things seemed. I tired AOL but couldn't figure out how to use it. And Compuserve had all these things called Forums that I didn't understand.
I mentioned to one of my computer savvy friends at work how slow my computer seemed when it was connected online. He told me to upgrade to a 14,400 bps modem. He said 28,800 was wasting my money since no one used that yet. And the best thing about the faster modems was that they could be used for faxing things in a snap. I could create faxes on the computer and send them out. Oh, and I could buy a scanner and use that along with a printer and my PC would act just like a fax machine.
So, I paid $1600 for a deck of cards and a fax machine. What else could this thing do that was useful?
Somewhere along the line I noticed a word processor was included in a program called Microsoft Works. My friend at work told me Works was an office program for homeowners. He said businesses use programs like Lotus 1,2,3 or Office. The idea occurred to me that something I could do with my computer was take those boxes of typed pages that I had produced in my effort to write the great American novel and somehow convert them into files stored on the computer. That way I edit them without literally cutting and pasting paper. Yeah, that was how editing was done back in the day, you know? Finally, there was something sort of useful I can do with this $1600 machine.
The kids for whom the PC was originally purchased had watched me use it a couple of times. My son played solitaire on it. The girls weren't very interested in sitting in one place long enough to learn much about it. None of them were yet using computers int he classroom. My boy expressed interest in playing some video games if I'd install them. The ones he wanted said they'd work on the computer.
I took a vacation week in the middle of the summer. It was a slower time of year for my departments, so they wouldn't miss me much at the store. I decided to return to The Wiz and ask a bunch of questions and make my computer useful. First order of business was upgrading the hardware as much as possible. Second was buying some software to entice the kids to using it. Third was getting a printer and maybe a scanner because my wife was thinking about starting a business and she could use the computer for sending and receiving faxes.Also someone at work said there was a way of scanning a page of text and having the computer convert it into a digital file using optical character recognition. I wanted to do that to all those typewritten pages.
When I arrived at The Wiz I looked for my salesperson from months ago, but it was his day off. His boss was there, though. We talked about modems first. His take on it made some sense. Eventually everyone will be using 28,800 and it wasn't that much more expensive Also adding in the extra memory would make the computer faster as well as dropping in the DX2 math coprocessor that make my machine purr at 50MHz. Oh and there was a 540MB hard drive available. I could have plenty of room for storing all the files I'd be creating with my scanner as well as the new ones I'd be writing. There would even be enough room for storing all my wife's business stuff for whenever she decided what sort of business she wanted to start.
Oh yes, I bought some games. I needed to get the kids using the computer. After all, wasn't that why we bought the thing int he first place?
After spending a lot of money that first day of my vacation I had a whole week to get all that stuff installed and working. The memory turned out to be a snap, literally. With the system restoration disks that came with my computer the manager at The Wiz assured me that installing the larger hard drive would be a breeze, especially since I had next to nothing stored on my original hard drive. He suggested I keep it in a drawer just in case the new hard drive ever crashed. I could boot up the system with that. Although it took a while to feed in all those floppy disks in the proper order the hard drive install proved to be simple as well. Getting the printer installed wasn't that hard either. The scanner, however, took a phone call to IBM tech support. They walked me through doing it, for a fee, of course. It required adjusting some things in what they called BIOS and to do that I had to enter the dreaded Setup Menu that they warned me never to enter unless I was talking to someone in tech support.
After all that, I figured I was pretty savvy. I was ready to tackle the modem install. It said int he instruction that it should be pretty easy. Just set it up the same way as the existing modem. Well, it wasn't that simple. It urned into a major pain in the butt.
Adamantly I refused to call IBM tech support again because paying for them to explain how to do something that should be user friendly seemed absurd. After all, once they explained about the serial and parallel ports on my machine and something about the COM Port in BIOS, I was able to get the scanner working along with the printer.
My stubbornness persisted for much of the rest of the week as each day I'd wake up and wrestle with different ideas of how to get the modem working. It seemed so simple in the instructions but what it said in the manual wasn't working at all. I resorted to calling the modem manufacture's tech support, seeing as it was their product I was installing and tech support for that should be free fir the first month, right? After trying a few things, changing some jumper settings not he card, they gave up, punting to IBM because, according to the the guy on the phone, everything should be working so there much be some conflict, maybe between IRQ's – whatever those were.
Well, after a week of frustration with this faster modem thing and getting it to plug into properly to what I now considered a made-for-adults puzzle, I was ready to pay the money to learn the secret. IBM tech support confirmed it was an IRQ (Interrupt Request) setting that needed to be adjusted. Also, they explained that since we had changed settings to install the scanner and printer I needed to reassign the COM ports on the modem. It sounded complicated, but tech support told me how to get into the system setup menu in BIOS again make some changes and, once I did that, everything worked.
You'd think that I'd never want to crack open the case again, just leave good enough alone. But after learning how to tweak things a bit I was hooked. I had made my machine significantly faster while upgrading its storage capacity and made it more functional – even if a month after all the expensive upgrades no one but me was using anything I'd installed – except my oldest daughter had tried using the Disney software in DOS that, despite my having installed more memory continued to tell her she was out of memory. Every time she wanted to play the game I had to close out of Windows and reboot into DOS. Sometimes it would play fine but other times it would not.
After asking my friend at work about it he explained how DOS memory worked and that I needed to edit my AUTOEXEC.BAT and CONFIG.SYS to free up memory. Just when I thought I'd figured out everything about my computer, now there was this new wrinkle. Pursuing the solution would take me on an adventure that continued for years. Ever in pursuit of a more powerful computer to do this or that better than my old one, at the end of the journey I became a self-taught computer technician…and that's another story for next time.
#personalcomputers #computers #geeks #Windows #DOS #upgrades
Tagged computers, DOS, geeks, personal computers, upgrades, WindowsLeave a comment
Elgon Williams, Auth… on Becoming Thuperman Coming FEB…
Fajar on Becoming Thuperman Coming FEB…
Fajar on Whatever Happened to Customer…
Fajar on Random Fun with Christine Gabr…
ElgonWilliamsAuthor on Update on Ballad of Best Buy…


Famous actor Armen Dzhigarkhanyan was back in the hospital, told RIA Novosti his friend, Artur Soghomonyan.
Earlier, some media wrote that Dzhigarkhanyan is in hospital in a condition of average weight.
«Something very critical happens, but there are problems that require a stationary solution. Within a couple of weeks he will have to stay in the hospital. Now I'm going to him,» said Soghomonyan.
Dzhigarkhanyan is not the first time in recent months admitted to the hospital. In mid-January he was hospitalized due to a virus, after some time he stopped treatment, and then returned to the hospital. In late April, it was reported that Dzhigarkhanyan is undergoing preventive treatment in one of capital clinics.
A year ago, the actor was in the center of a scandal because of the relationship with his wife, Vitalina Tsymbalyuk-Romanovskaya. Then the actor went to the hospital and stated that he is not ready to forgive his wife, which, in his words, «caused him a lot of pain». Tsymbalyuk-Romanovskaya at the same time resigned from the post of Director of the Dzhigarkhanyan theater and announced that he's filing for divorce. Later the couple divorced.
In early December last year Tsymbalyuk-Romanovskaya was charged with violation of privacy. As the lawyer told Dzhigarkhanyan Evgeny Parfenov, «she collected and disseminated in the media about his personal and family life without his or her consent». According to investigators, she set up a hidden camera in the office spouse, and then handed the video to one of popular talk shows. One of the witnesses said that Mara told her the camera is the need to monitor the Affairs of her husband.
She Tsymbalyuk-Romanovskaya told the court that it understands the charges against her accusations. To it threatens till two years of imprisonment.
The case is now being heard in the world court plot number 310 of the Ostankino district of Moscow.


Have you ever watched a soap opera? It's okay, you're among friends. No, really. Fine, I'll start. I have watched soap operas. I have done so because quite frankly there is some amazing acting on those shows. Like a tree in Brooklyn, it survives amongst some truly awful acting and absolutely ridiculous storyline. The dialogue, like the acting, can go from 0-50 in mere seconds. There doesn't seem to be much consistency of either. There is something almost Olympic about watching a very good actor utter the most absurd lines. What can I say? It's fun.
Which explains why I liked The Shoemaker at the Acorn Theater. This new play by Susan Charlotte, has a thin and clumsy plot. The dialogue is stilted at times and excruciating at others. A voice-over is used awkwardly as exposition. At one point I was so embarrassed by this, I fantasized about hiding under my wrap. Perhaps all this was a nod to Ms. Charlotte's previous gig at Guiding Light? The heavy-handed subject matter; the attack on the World Trade Center and The Holocaust, partly saved this play. Sounds a bit counter-intuitive, no? I am no fan of "neuralgia" (as it's called in my home) and I do abhor cheap sentimentality. But even I can concede that these subject matters transcend bad writing.
Now add the rawness of the subjects with the presence of Danny Aiello, and you have the makings for a pleasant afternoon. Mr. Aiello is just heartbreaking. I know how ridiculous I was choking back sobs as he recited one of the four questions. In Hebrew. But hey, a gal can only take so much.
The play takes place in a (nicely set) shoemaker's shop. There are some flaws in the set decoration, but there are bigger issues with which to contend. Mr. Aiello is joined on stage by Alma Cuervo, a delight. Saddled with dialogue and monologue entirely incongruent with the events of the day (9/11/01) they still manage to create some very lovely moments. Mercifully, the voice-over (with varying degrees of technical accuracy in volume control) is held to a minimum in the first act. Unfortunately, the first act ends with a glimpse of what's in store. A third character (Lucy Devito) walks on stage with all the dramatic believability of a lost audience member.
The only thing keeping one in their seat during the second act are the monologues of Mr. Aiello. He rises above the muck and finds his own beautiful truth. This would simply not be possible in lesser hands.


text:
Q: How to show google accounts dialog in flutter? I want to do the login/signup process with google acc in the flutter application. Our backend developer gives me an API to call that and get a link for choosing a google account. That link is like this:
https://accounts.google.com/o/oauth2/v2/auth?redirect_uri=https%3A%2F%2Fapi-v1-dare.cloud.atadp.ir%2Fapi%2Fauth%2Flogin%2Fgoogle%2Fcallback&client_id=1039193858277-2vkeh4q5nvi69bdfe4sr44boo0itlau5.apps.googleusercontent.com&access_type=offline&response_type=code&prompt=consent&scope=https%3A%2F%2Fwww.googleapis.com%2Fauth%2Fuserinfo.profile+https%3A%2F%2Fwww.googleapis.com%2Fauth%2Fuserinfo.email
When I open this link in my browser, I can choose a google account:

And when choose account, I get this data:

I try to use the google_sign_in package but can't find a way to load that link. Can you help me how to do this process?

redpajama_set_name: RedPajamaStackExchange


text:
Home Developer Google's Android SDK Comes Alive
Google's Android SDK Comes Alive
By Sean Gallagher | November 13, 2007
Google took several steps to goose interest in its yet-to-be-released Android platform for mobile phones today. The Open Handset Alliance, sponsored by Google and others, released a software development kit for Android. Google also hopes to stir up developer interest with a coding cook-off that will give out $10 million in awards.
Within hours of its release, the Android SDK had become "one of the most downloaded items ever" off Google's developer site, according to company spokesman Barry Schnitt. The toolkit, which included an emulator for software testing and a plugin for the Eclipse development tool, drew immediate reactions from developers ranging from "phenomenally cool" to "a bit disappointing".
The toolkit is licensed under the Apache 2.0 license, opening it up for wide repackaging with other developer tools. Google's Schnitt said that thus far there are no application tool partnerships to announce; however, the toolkit comes with an Eclipse plugin, so it is ready to integrate into many Java development environments.
Sun Microsystems CEO Jonathan Schwartz has already committed to Sun providing support for Android in its NetBeans integrated development environment. In his weblog, Schwartz congratulated Google, and said, "I'd also like Sun to be the first platform software company to commit to a complete developer environment around the platform, as we throw Sun's NetBeans developer platform for mobile devices behind the effort. We've obviously done a ton of work to support developers on all Java-based platforms, and were pleased to add Google's Android to the list."
The Android SDK is based primarily on Java. However, it isn't based on J2ME, the version of Java already supported by existing commercial handsets; instead, it relies on a subset of the standard Java API
"In my opinion this is all a bit disappointing," wrote Jilles van Gurp, a developer who works at the Nokia Research Center, in his personal weblog. "Not aligning with an existing profile of Java is a design choice that is regrettable. It makes Android incompatible with everything else out there which is unnecessary in my view. Additionally, Android seems to duplicate a lot of existing functionality from full Java, J2ME and various open source projects. I'm sure that in each case there is some reason for it but the net result seems reinvention of a lot of wheels"
For its part, Google is doing its best to seed developer enthusiasm. The company announced a $10 million "Android Developer Challenge", a two-phase bake-off that will reward the "the developers whose applications leverage all that the Android platform has to offer in order to provide consumers with the most compelling experiences," a release from Google read. Individual prizes will range from $25,000 to $275,000, and developers who enter the contest will retain all intellectual property and other rights to their applications.
The challenge, according to Schnitt, evolved from an internal competition Google staged during early testing of the tools. "We gave away five or six Nintendo Wii [game systems] internally," he said. "The creativity and quality of the applications that came from outside of the mobile area within Google were actually more interesting than the ones that came from within. That's another reason we're hoping to get this broadly out there, to even people who aren't necessarily mobile developers."

redpajama_set_name: RedPajamaCommonCrawl


Headquarter in Banning, CA, ZENNER PERFORMANCE is a U.S. manufacturer and distributor of high-quality water meters and heat meters for the measuring of consumption. As a part of the worldwide ZENNER-Group, which was founded in 1903, ZENNER PERFORMANCE has more than 100 years of experience in measuring technologies. Our water meters are manufactured with superior quality and built for longevity.
Our water meters are designed in view of our customers needs: Best quality, highest precision and a long lifespan. Our Water Meters are produced in Banning, California where you can find the headquarters of ZENNER PERFORMANCE.
ZENNER PERFORMANCE water meters are long time instruments for an exact and professional measurement of consumption and effective tools for saving precious resources.
ZENNER PERFORMANCE Water Meters are the innovations of today saving the resources of tomorrow.
The high quality consciousness of all the 1200 ZENNER engineers, developers and staff members worldwide guarantees perfect results to our customers.
Our Single-Jet water meters for homes and flats have been proven by the million around the world and are prepared for all measuring tasks, thanks to our extensive range of accessories. Equipped with pulsers, as radio-controlled water meters or as the Mbus version, our water meters are ready for the requirements of Meter Reading Technologies and Smart Metering.
Thanks to their robust design and their high-quality technology, ZENNER PERFORMANCE water meters for houses and housing complexes always guarantee the optimum measurement results. The latest generation of water meters made from high-quality polymer plastic are as much a part of our portfolio as the classic water meters in the bronze, stainless steel or brass housing.
ZENNER PERFORMANCE Positive Displacement Water Meters consist of three basic components: main case, measuring chamber and a sealed register. The main cases are contructed using C89833 Brass Alloy. Measuring Chambers are constructed of a durable synthetic polymer. Bottom plates (for meter sizes 5/8" thru 1") are available in Bronze, Cast Iron or synthetic polymer. Registers are available as either direct read or electronic output.
ZENNER PERFORMANCE Turbine Meters are designed for applications where flows are usually moderate to high and occasionally low. They are used in measurement of potable cold water in commercial and industrial services. ZENNER PERFORMANCE Bronze Turbine Meters are engineered and manufactured to provide long-term service and operate virtually maintenance free.
ZENNER PERFORMANCE Compound Meters are for use in measurement of potable cold water in commercial and industrial services where flows are in one direction. ZENNER PERFORMANCE Bronze Compound Meters are engineered and manufactured to provide longterm service and operate virtually maintenance free. If necessary the universal measuring element (UME) can be removed from the main case for maintenance. Interchangeability of certain parts between like sized meters minimizes spare parts inventory.
ZENNER PERFORMANCE Hydrant Meters are designed to measure a wide variety of cold potable water flows from fire hydrants where flows are in one direction. ZENNER PERFORMANCE Hydrant Meters are engineered and manufactured to provide long-term service and operate virtually maintenance free. If maintenance is necessary the measuring element can be removed from the main case.
From the start, we have developed innovative products based on state-oft heart technology in dialogue with our customers. The result is a collection of well-engineered plastic water meters, because exact consumption values are only possible with precise measuring technology. The housings of the Plastic Water Meters consist of a polymer, as light as it is highly stable, which has been used in the automotive industry and in the manufacture of sports equipment and containers for drinking water for many years. The result: extremely low weight with the highest stability and resilience. In addition, the Plastic Water Meters are resistant to corrosion.


Sunnyside Guest House Guest HouseSunnyside Guest House in Keswick (English Lake District) is just a short walk from the town centre and Derwentwater. It has seven comfortable guest rooms including three doubles, a twin, two singles and a triple bedded room all of which are en-suite. We also offer off street car parking for up to seven vehicles . Sunnyside is run by its owners Nicky and Paul and provides Bed & Breakfast accommodation using local Cumbrian supplies. We pride ourselves on the comfort and cleanliness of our guest facilities and we will help make your stay with us special . We have a large, comfortable and relaxing guest lounge with a pod coffee machine , a fridge with fresh milk and cold drinks, a large selection of fiction and non-fiction books, local interest books, maps and information together with a good selection of games and puzzles.
Sunnyside Guest House sometimes limits bookings to 3 or more days.
A double bed with bedside tables and a large wardrobe. Comfortable seating is provided and a stool located at the dressing table. A flat screen TV with built in DVD player is located on the wall with an adjustable bracket. The en-suite has a large corner shower and a range of toiletories are provided.
Located on the 1st floor, it has a 2 single beds with a bedside table and a large wardrobe. A flat screen TV is located on the wall with an adjustable bracket. The en-suite has a large corner shower and a range of toiletories are provided.
Leave M6 jct 40 and take the A66, following directions for Keswick town centre. At crossroads, opposite the war memorial, turn left and left again into Southey Street. Sunnyside is approximately 150m on the left.
Overall friendly atmosphere, good room and excellent breakfast. The location could not have been better.


text:
The Adamson House and its associated land, which was known as Vaquero Hill in the 19th century, is a historic house and gardens in Malibu, California. The residence and estate is on the coast, within Malibu Lagoon State Beach park.

It has been called the "Taj Mahal of Tile" due to its extensive use of decorative ceramic tiles created by Rufus Keeler of Malibu Potteries. The house was built in 1929 for Rhoda Rindge Adamson and Merritt Huntley Adamson, based on a Mediterranean Revival design by Stiles O. Clements of the architectural firm of Morgan, Walls & Clements. The Adamson House was designated as California Historical Landmark No. 966 around 1977, and added to the National Register of Historic Places circa 1985.

History

Rindge-Adamson family
Frederick Hastings Rindge was a wealthy Boston businessman who relocated to Los Angeles, and owned the "Rindge Ranch," which included the historic Spanish land concession Rancho Topanga Malibu Sequit, enlarged by subsequent land purchases surrounding the ranch. The Rindge Ranch thus encompassed present day Malibu, California, and small portions of the Santa Monica Mountains. His daughter was Rhoda Agatha Rindge Adamson.

Merritt Adamson (1888–1949) was a graduate of the University of Southern California Law School and was the captain of the 1912 football team, the first USC team to be known as the "Trojans."  Adamson met Rhoda Rindge while he was employed as the foreman of the Rindge Ranch. Rhoda Rindge reportedly became interested in him when she helped to nurse him back to good health after he was injured in an accident. The couple was married in 1915. In 1916 Adamson established a dairy business in the San Fernando Valley, in Tarzana known as Adohr Farms, the name representing his wife's name spelled backwards.  The business became one of the country's largest dairies, operating one of the largest herds of Guernsey cows in the world.

Construction and architecture

The two-story, ten-room Adamson House was designed by Stiles O. Clements and built of steel-reinforced concrete.  Completed in 1930, Stiles called the house an outstanding example of modified Mediterranean Revival-style architecture.  Architectural historians refer to the style as a synthesis of Spanish Colonial Revival and Moorish Revival architecture.
The house features teak woodworking, fireplaces in several interior and outdoor patio rooms, handpainted ceilings, lead-framed bottle glass windows, and "wrought-iron filigrees fitting over the windows like intricate jewelry."  The main floor is dominated by a large living room with windows on three sides.  The room is still furnished as it was when the Adamsons lived there, including the large radio on which the family received news of the attack on Pearl Harbor.  Other rooms on the main floor include a guest bedroom with a bathroom that is tiled literally from floor to ceiling, a dining room with an old convent table overlooking the ocean, a kitchen with an early version of a dishwasher and a colorful tiled clock, and the main entrance with its imposing wood door and tiled entrance table.

There are four bedrooms and a small kitchenette upstairs. The master bedroom, where Mr. and Mrs. Adamson slept, is on the southwest corner of the house. It has a large tiled bathroom, and Mrs. Adamson's clothes and hat collection remain in her closet. Next to the master bedroom is the one designed for the Adamsons' son; its bathroom has detailed tiles depicting ships and nautical scenes. The girls' bedroom in the center facing the ocean has a tremendous view of the ocean and coast. These three bedrooms open onto a large upstairs patio with the home's most spectacular panoramic view of the ocean, the Malibu lagoon and the coast in both directions. The fourth bedroom upstairs is at the eastern end of the second floor and looks out of a large Dombeya tree that blooms with spectacular bright red flowers in the spring.

Another striking feature of the house is the tiled swimming pool set into the sand that was equipped with a special filtering and heating apparatus that permitted the pool to be filled with either salt or freshwater.  The Los Angeles Times in 1930 noted that the unusual features made the "plunge one of the finest in the southland."

A tile showcase

Adamson House is best known for its extensive use of locally produced Malibu tile. In 1926, May K. Rindge (Rhonda Rindge Adamson's mother) established a tileworks east of the Malibu Pier. The factory was run by Rufus Keeler, an innovative ceramic engineer, who worked with local artisans to design decorative art tile, employing more than 100 persons in the late 1920s and creating "some of the most colorful and inventive glazed tiles in the country."  Hand-crafted art tile fired from local clay was specially designed for each room of the Adamson House.  Even the ceiling of one of the bathrooms was tiled. In 1930, the Los Angeles Times reported: "Striking tile effects have been obtained from original designs of the craftsmen and artists of the pottery and floors, walls and patios."  Sixty-seven years later, the Los Angeles Times was still writing about the home's extraordinary tilework: "This huge Spanish-style mansion, built in 1929 (sic), might as well be called the house that tile built. Tile is everywhere — from the ceramic wall clock above the tile-topped oak table in the kitchen to the floor-to-ceiling tiled bathrooms."

One of the home's most popular examples of tilework is a  imitation Persian carpet made of tile, including small pieces designed to look like rug fringes.  In the exterior of the house, the colorfully tiled Neptune Fountain, Peacock Fountain and Star Fountain are among the home's most photographed examples of tilework.  Nearby, there is also an elaborately tiled outdoor tub used by the Adamsons to bathe their dogs. The bathhouse and swimming pool are also covered with Malibu tile, and the dressing rooms have tiled showers with decorative motifs.  The house has been called a "museum of tile" and the "Taj Mahal of Tile." The Malibu Potteries only operated for six years from 1926–1932, and the Adamson House has many of the potteries' most significant remaining works.

Early use
The house was originally a vacation beach cottage, but the Adamsons eventually made it their permanent home. In December 1932, a fire started in the electrical wiring of the garage. One of the bedrooms was badly damaged, and the entire house was threatened by intense flames. The fire was extinguished by pumping crews from the forestry stations at Fernwood and Las Flores, aided by the Malibu Beach colony fire department. During World War II, the bathhouse was used by the United States Coast Guard as a local headquarters to watch out over the Malibu coast.

Eminent domain and plans for beach parking

After the death of her husband, Rhoda Rindge Adamson continued to live in the house until her own death in April 1962.  After her death, her heirs announced plans to build a $10–12 million "deluxe Waikiki-type beach resort" on the  site, while preserving the house as an art and history museum.  The State of California, however, filed an eminent domain lawsuit in 1966, seeking to raze the house and turn it into beach parking.  The state won its eminent domain lawsuit and purchased the property from the Adamson estate at the $2.69 million valuation set by the court.

Preservation as a museum

Despite the state's victory in the eminent domain proceeding, the Malibu Historical Society, supported by the Los Angeles County Department of Parks and Recreation and the Adamson family, together with other leading Malibu citizens, fought over the next ten years to have the Adamson House preserved.  While the state's plans to raze the house were put on hold, the house was leased to Pepperdine University from 1971-1982 as the residence of the university's chancellor, Norvel Young. In addition to its extensive use of Malibu tile, preservationists touted the house as "a prime example of California Moorish-Spanish architecture." In 1976, preservationists won a victory when Herbert Rhodes, the director of the state's Department of Parks and Recreation, overruled staff recommendations to use the land for beach parking and recommended preservation of the entire property.

Sylvia Rindge Adamson Neville, a granddaughter of Frederick Rindge, donated money to help restore the house, and additional funds were raised by the Malibu Historical Society. Beginning in October 1982, volunteers from the Malibu Lagoon State Beach Interpretive Association began work converting the garage into a small historic museum.  In 1983, the house and Malibu Lagoon Museum (located in the garage) were opened to the public for docent-led tours.  The house is open to the public for tours on Wednesdays through Saturdays from 11 a.m. to 3 p.m.

While the house is looked after by a dedicated staff of state employees and volunteers, a lack of funding from the state has led to maintenance problems as of September 2008. The area beneath the upstairs balcony overlooking the ocean shows signs of deterioration. A large iron barbecue grill that was a gift from Will Rogers to the Adamson family had been left exposed to the elements and is in need of repair. Several tile-topped tables that formerly sat in the backyard have been vandalized and now sit in an enclosed area.

Pop culture

In 1975, the home was featured in the Mannix episode "A Word Called Courage."
 From 1987 through 1989, the home was featured in seasons eight and ten of Knots Landing, serving as Abby Ewing's house.
In 2020, the Adamson House was featured in the Netflix show Ratched.

Historic designations

In October 1977, the house was listed on the National Register of Historic Places.  And in November 1985, it was also designated as a California Historical Landmark by the California Historic Resources Commission.

The California Historical Landmark Marker NO. 966 at the site reads:
NO. 966 ADAMSON HOUSE AT MALIBU LAGOON STATE BEACH - Designed by Stiles O. Clements in 1929, this Spanish Colonial Revival home contains the best surviving examples of decorative ceramic tile produced by Malibu Potteries. During its short existence from 1926 to 1932, Malibu Potteries made an outstanding contribution to ceramic art in California through its development and production of a wide range of artistic and colorful decorative tile. The home was built for Merritt Huntley Adamson and Rhoda Rindge Adamson, daughter of Frederick Hastings Rindge and May Knight Rindge, last owners of the Rancho Malibu Spanish grant.

See also
Malibu Creek
Rindge Dam
Frederick Hastings Rindge House
Frederick Roehrig
List of Registered Historic Places in Los Angeles County, California
History of the National Register of Historic Places
Hueneme, Malibu and Port Los Angeles Railway (The railroad that the Rindges built through Malibu)

References

External links

 Official Adamson House website

Houses in Los Angeles County, California
Buildings and structures in Malibu, California
Historic house museums in California
Museums in Malibu, California
Open-air museums in California
Gardens in California
Houses completed in 1930
California Historical Landmarks
Houses on the National Register of Historic Places in California
Buildings and structures on the National Register of Historic Places in Los Angeles County, California
1930 in California
History of Los Angeles County, California
Santa Monica Mountains
1930s architecture in the United States
Morgan, Walls & Clements buildings
Mediterranean Revival architecture in California
Moorish Revival architecture in California
Spanish Colonial Revival architecture in California

redpajama_set_name: RedPajamaWikipedia


text:
Celebrity Body
Giuliana Rancic: I Set Up Kristin Cavallari and Jay Cutler!
INFphoto.com; Frazer Harrison/Getty Images
Patti Stanger might want to watch her back — there's a new matchmaker in Hollywood.
Giuliana Rancic revealed to UsMagazine.com that she's been busy playing cupid.
"You know who I set up? Kristin Cavallari and Jay Cutler," the Giuliana & Bill star told Us at the Women's Day Red Dress Awards Tuesday. "I knew them both for awhile and introduced them and they went on a date. Now they're dating."
PHOTOS: See which stars found love on set
And now that she has one successful match under her belt — the former Hills star, 24, has been linked to the Chicago Bears quarterback, 27, since August — she has her eyes set on other lonely hearts.
PHOTOS: Check out these budding celebrity romances
"I'm not sure that I can make it happen but I'd love to set up Jen Aniston with anyone," Rancic said. "Like seriously, anyone. I want to see her get a happy ending."
As for her own happy ending with hubby Bill, 39, the E! News host, 36, says they haven't given up on their dream of having a child.
VIDEO: Inside Giuliana's nightmare IVF drama
"Yes we still want to have kids," she told Us. "But you know for now my husband and I are having a good time and chilling out. You know, not thinking about all the [IVF] shots and all that. For now we're just having fun. When it's time for us to have a child I think we'll know."


Well, it took only a couple of months before this got caught up in legal limbo, and the stories of suits and countersuits overshadowed the announcement completely. We've been discussing that for nearly a year as well, and I'm guessing we will be for several more to come. Maybe once that's wrapped up, we can hopefully get back to talking about this again.
What the.... has it really been over a year since this announcement?
And I was the lucky one to have posted in the news thread.
I feel honoured, and chalk this up as a small, but difficult achievement.
Life goes on. Thanks for the honour.
But the exciting stuff is, that THERE WILL BE A CANON SC3!
Sure, but this is NEWS.
25 years after SC2 release, we get this announcement.
For the first time for a PC game, since.... since..... the announcement of the UQM project, actually.
Indeed. And likely on more planets than one.
Maybe those are the left-over precursors?
There must have been more than one.
"The only known reference to its location was an ancient wildlife book written by an unknown alien author"
Ancient information implies population, as there are no immortals in SC2 universe, as far as I can tell. Even the Slylandro and Chenjesu aren't said to be immortal.


Writer says it was a good night at the annual Variety Club Bingo in Cache Creek.
On Feb. 4, Cache Creek Village held the annual Variety Club Bingo. Wow! What a great night. We had over 50 people in the house. Thank you to all who came out and supported the Variety Club for our kids.
Before I tell you how much was raised, I would like to thank the people who donated goods, prizes and worked so hard to make it a great night: to the Village staff and workers, The Royal Purple, Cache Creek Recreation, Irene, Lil, Mayor and Council members, our caller for the evening Eric Ogden, Citizen of the Year Tanya Wong who travelled from Kamloops to help us, Cheryl's Restaurant, Hungry Herbies, Grubstake, Junction Shell and last, but not least, Safety Mart.
Now, for the total we sent to the Variety Club – $1,085 plus $255 in pin sales, for a total of $1,3335. Way to go! Hopefully next year we will double that.


Investor FAQs | Arco Platform Ltd.
What does Arco Platform do?
We provide a complete pedagogical system with technology-enabled features to deliver educational content to private schools in Brazil. Our turnkey curriculum solutions provide educational content in both printed and digital formats delivered through our platform to improve the learning process.
Our mission is to transform the way students learn by delivering high-quality education at scale through technology to private primary and secondary, or K-12, schools.
Where is Arco Platform's corporate headquarters?
When did Arco Platform go public? What was the price?
Arco completed its Initial Public Offering on September 25th, 2018 at $17.50 per share and began trading on Nasdaq under the ticker symbol ARCE on September 26th, 2018.
What is Arco Platform's fiscal year?
How do I invest in Arco Platform?
Arco's Class A common shares can be purchased on the open market through any registered broker.
Who is Arco Platform's auditor?
How can I view documents Arco Platform has filed with the Securities & Exchange Commission (SEC), including Forms 10-K and 10-Q?
Please see the SEC Filings section under Financials on this Investor Relations site.
Does Arco have a direct stock purchase plan?
Does Arco Platform pay dividends?
We have not adopted a dividend policy with respect to future distributions of dividends. We currently intend to retain all available funds and any future earnings to fund the development and expansion of our business and we do not anticipate paying any cash dividends in the foreseeable future.
You may contact our Investors Relations team through the e-mail [email protected].


text:
Bitcoin Exchange Cryptsy Finally Explains Loss Of Millions
Jan 15 2016 · 14:46 UTC | Updated Jan 26 2016 · 13:47
by Tatsiana Yablonskaya · 3 min read
Cryptsy published a blog post with step-by-step explanation of conducted cyberattack.
Bitcoin exchange Cryptsy International has explained the problems it has been undergoing for some time in a blog post. Cryptsy completely denied all allegations that problems were caused by recent phishing attacks or a ddos attack. The exchange has been under investigation since a class action lawsuit against it was filed. First-hand explanation comes just in time as numerous users continue complaining of withdrawal issues and Cryptsy remaining silent.
Until the problems began, Cryptsy was a successful exchange with more than 270,000 registered users from all over the world making over 300k trades per day. It serviced more than 200 different types of crypto-currency.
Now the company is experiencing hard times. The suit for over $5 million USD was filed by Jinyao Liu who had deposited 84,000,000 Doge and tried to withdraw the cryptocurrency from the exchange. To be more exact, the suit against the exchange is represented by Liu and others suffering from the same hardship. They all cannot withdraw from Cryptsy, and the filings represent the interests and costs of many people throughout various states.
Cryptsy says that troubled started about a year and a half ago, when the team noticed a reduction in the safe/cold wallet balances of Bitcoin and Litecoin, as well as a couple other smaller cryptocurrencies. Investigation was conducted. After considering the results, Cryptsy concluded that the developer of Lucky7Coin had placed an IRC backdoor into the code of wallet. That allowed it to act as a sort of a Trojan, or command and control unit. This Trojan must have been present in the system for several months to collect enough information for the attack.
Soon Cryptsy received an e-mail from the new developer who wanted to maintain the codebase. However the management of the exchange didn't take any measures. Afterwards they would say that "they just didn't understand what had happened, didn't want to cause panic and were unsure who exactly they should be contacting."
At that time Cryptsy's website was earning more than it was spending. The exchange had reserves of cryptocurrencies on hand so they just decided to pull from the profits to fill these wallets back up over time. This helped to avoid complete closure of the website. Unfortunately without deep understanding of the very reason for what was going on, the measure helped just for a while. Further events unfolded after the publication of an article with many false accusations by Coinfire. The article basically caused a bank-run and this is where problems with customers' complaints began.
Cryptsy informs that its current customer liabilities for BTC is around 10,000 BTC. It underlines that bitcoins have not moved once since this all happened which gives a hope to recover them. A reward of 1000 BTC is offered for useful information which can help with the recovery of the stolen coins. Also Cryptsy provides an address for the perpetrator of the crime to return the cryptocurrency and guarantees that it will do no harm and will take no action to reveal his personality.
As for now the exchange sees three possible options:
To shut down the website and file bankruptcy, letting users file claims via the bankruptcy process and letting the court make the disbursements.
If somebody purchases and run Cryptsy while also making good on requested withdrawals.
If somehow Cryptsy manages to re-aquire the stolen funds and allows all withdrawal requests to process.
Until Cryptsy comes to any sort of solution, trades and withdrawals on the site will be suspended.
Author Tatsiana Yablonskaya
Taking strong interest in blockchain, cryptocurrencies, and IoT, Tatsiana Yablonskaya got deep understanding of the emerging techs believing in their potential to drive the future.


Summary: He promised her an eternity of his love. But then time passed and Caroline found a new lover and he too, found a new love. But then a phone call from her and his undying love marked by eternity, reminded Klaus that loving Caroline is like having a thousand hearts. But more time passed, and when his end was near, Klaus chose to disappear.
From the very start, he was meant to fall in love with her.
When he'd promised her eternity, the heavens were laden with tiny stars, and the moon appeared even bigger making silver lining around the night's dark. The night air was crisp and silent, but even with all the wonders of the world, Caroline was yet exquisite above them all. Like a fairy tale, she was magic and a shooting star.
So he promised her an eternity of his love.
But when his end was near, Klaus chose to disappear.
And so time passed and Stefan, Klaus' since-1920s pal became Caroline's new love. Klaus was flummoxed, quandary as to where the hell time went. He knew the promise was to be her last love and not the 'next' after Tyler. He also knew that with their immortality, 'last' could end up being too close to eternity. He knew all that and yet the unwelcomed reality when Stefan showed up in New Orleans, was a squeeze on his heart.
Then there was the story of Cami. She was beautiful, smart, had guts and he felt himself getting in groove with her. But why did that happen? Whatever happened to his promise of being Caroline's inescapable final love? It seemed Caroline wasn't waiting for him and he – he was off getting cosy with another 'lover'. With Cami, he got fancied that someone could openly have loved him without the baggage of clingy childhood friends always judging him, judging her, judging them.
But from the very start, he was meant to fall in love with Caroline.
First he fell in love with her sunny beauty and then her truths that were bare and wickedly frank, but he loved her like that – feeling that she was really looking at him, paying attention to his flaws and his struggle for acceptance… thinking about him – when no one else would, she could see his soul calling out SOS.
But perhaps most importantly, she came to care for him and made him her friend… to kiss him… she perhaps came to love him.
"One day, you'll love me so much that Tyler and no one else will have mattered", he told her once.
At that bold declaration, for Caroline, a woman of a thousand comebacks to have only smiled with a radiance that was more dazzling than the twinkly stars above them, for her to have only made small sounds of laughter like warm whispers in the crispy breeze, Klaus knew he was made to love this woman.
But time passed and Stefan showed up and then Klaus found himself saying goodbye to Caroline on the phone. But even then, that telephone call was like stardust magic falling down and clinging to them. The tension, the attraction, the never ending mental repeat of the promised made years before. Like the red string of fate, that phone call connected them, reminded them that like it or not, ignore it or not, together or not, their love was meant to be.
Her soft breathing into the phone, their long pauses searching for words, the filler chattering buying them time to calm their nerves. In that vacuum, time and the universe paid homage to them. It was short-lived;– the tiny sparks that soon roasted into a heat of nostalgic desire. But he couldn't sweet talk her, not when danger was in tow behind him.
And so when the call was done, whopping years had passed.
Klaus had always been selfish, but he wouldn't be careless and risk even a hair on her pretty head to be ruffled by the many ancients trying to kill him; because, however long it takes, Klaus keeps his promises. And having promised Caroline his whole life, such a life would be worthless should it bring harm to her. So until he was once again able to make himself King for her… until he could once again promise her worldly adventures, he left her to his since-1920s pal to do good by her, and when his ending was near, Klaus disappeared.
"Excuse me. I'm looking for Klaus".
One day, Klaus' Love came to find him.
His Love with long blonde hair carrying two little girls showed up at the NOLA French Quarter.
And like a state of enlightenment, Klaus was reminded that from the very start, he was meant to fall in love with Caroline. And so when she finally needed him, and he like forever needed her – when she finally came to him, he told Freya to drop the veil that hid him from the vindictive world.
Perplexed at first watching Klaus' usually happy childish grin, Freya suspiciously said, "there's something on your face".
"What?" he asked wiping his cheeks, eyes big and lips spread wide in innocence and excitement.
"A grin. And it's creepy", Rebekah in lieu replied, rolling her eyes but not without a hidden smile around her lips.
Klaus laughed and Elijah added, "more like mischief".
Klaus grinned, a pleasure so bright that his siblings thought he'd never before looked so human, "my dear brother, sisters", he said gloating, seemingly floating towards the entrance looking at the pretty woman who had come to get him, "it's happiness".
And might as well Klaus had a thousand hearts because, he thought it impossible to contain all his love for Caroline in just one. His head was giddy, his heart was frisky and even though he knew danger was ever nigh, he knew better that he didn't want to breathe another day without Caroline – Forever was too long to be without her – Tyler first, Stefan after – he couldn't stand having Caroline's secrets exposed to any other.
That day was when he would fully love.
He wanted her undivided love then more than ever.
"Freya Sister, drop the cloaking veil", and when Freya waved her hands and winked him good to go, he stepped in the doorway and said, "hello Caroline".
Caroline smiled, her pink lips pressed together into the cutest thing ever Klaus had seen for ages, "maybe I'm playing devil's advocate".
Klaus smirked, "or maybe you just wanted to see me".
Caroline rolled her eyes, "I see you're still delusional", yet her lips were pleasantly spread like wings of a butterfly.
Klaus swore he felt his heart growing as he replied, "well no need to be modest. Make my day and tell me how much you need me".
Caroline rolled her eyes again, her lips thin and glossy and kissable, "well isn't that just wonderful. You make me want to fall more in love with you".
The reply took Klaus by surprise so he leant his head to the side and replied, "forget advocate. You truly are the devil".
"I certainly don't", Klaus answered, finally letting her in, "a Caroline who teases loving me… every time I see your face, I'm compelled to love you more".
Caroline's world was never just black or white. Fear had always crippled her, but at that moment, she felt a love for Klaus that she had never experienced before, "well isn't that just wonderful".
For it seemed, that at the very end, she too was meant to fall in love with Klaus.
Klaus smiled, cried nearly, "you tease me well".
The kiss sizzled on his lips when she walked over to him and latched herself into his grip. Wordlessly, he melted like candy in her mouth, and flowed like honey on her tongue. Loudly, his heart beat as she hugged him and he whispered 'finally' into her ears. Sacredly, their love grew like the sprout of a perennial flower called into bloom at the start of its season and miraculously, he finally knew how much in love she was in love with him.
A perfect beginning, their new chapter had only just started, but already, Klaus was glad the past never lets go.
At least that sort of past.
Because just when all hope seemed lost, that day was sure of a love meant to be – a love that surely bloomed like ripened fruits in a blackberry winter field.
Yeah, Steroline is taking over these days but us Klaroline fans will keep hoping until the very end. TVD will end with the upcoming season next month - season 8.
I really want Bonnie and Damon to hook up too, but even that is in limbo since Bonnie has Enzo, sort of ><"


This error is not occur with the php, this will happen about the mysql error.
Need Help Optimising your database? Looking for a good to OPTIMIZE / REPAIR specific tables, databases, or servers? Here is a code that may help. Very easy to install. No files to change.
and run that file with give the database details.
then that error might not occur.


Vein specialist of Tampa – Non-invasive vascular surgeon Dr. Marlene Valentin, has vast experience in treating all vein and vascular disorders using the most advanced vascular treatments available anywhere that offer quick recovery time and no scarring.
Vascular surgeon Dr. Valentin has treated thousands of patients in the Tampa Bay area suffering from all types of vascular diseases achieving amazing results for her patients and helping them to enjoy good vascular health.
Dr. Valentin is now providing BIOTE® Hormone Pellet Therapy at our Lutz, Riverview and Spring Hill locations to help balance hormone levels in her patients…helping to reduce the risk of developing varicose veins and spider veins. As a bio-identical hormone therapy specialist, Dr. Valentin inserts a tiny bio-identical hormone pellet just under the skin. The pellet continuously releases bio-identical hormones into the patient's blood stream, assisting in weight loss, helping to improve energy levels, muscle tone, sleep quality, motivation, mental clarity, libido and mood.
With such extensive experience in non-invasive vascular surgery, Dr. Valentin is the vein specialist who can help restore your vascular health so you can enjoy life to the fullest.
To schedule a consultation with vein specialist Dr. Marlene Valentin, give us a call at (813) 377-2773.


text:
:2;
10.25259/ANMRP_5_2021
Polydactyly presentations: A case report
Michael Bundepuun Ode1, Idumagbodi Amupitan1, David Ghorau Mancha1, Shem Bulus Yilleng1
1Department of Orthopedics and Trauma, Jos University Teaching Hospital, Jos, Plateau, Nigeria
*Corresponding author: Michael Bundepuun Ode, Department of Orthopedics and Trauma, Jos University Teaching Hospital, Jos, Plateau, Nigeria. odemb2014@gmail.com
© 2021 Published by Scientific Scholar on behalf of Annals of Medical Research and Practice
How to cite this article: Ode MB, Amupitan I, Mancha DG, Yilleng SB. Polydactyly presentations: A case report. Ann Med Res Pract 2021;2:4
Polydactyly is a duplication of the digits of the hands or feet. It is a congenital anomaly and can manifest as a single disorder or as a component of a syndrome. It is typically an autosomal dominant inherited condition with variable expression and incomplete penetrance. It is genetically heterogenic being caused by mutations in different genes. It manifests in different forms, based on the position of occurrence of the extra digit. It can occur as a single disorder as a component of a syndrome. Its presentation ranges from just a skin tag to a complete digit with the accompanying metatarsal or metacarpal bone. It can result in functional impairment or it may just be a cosmetically unacceptable digit with no functional impairment. Treatment depends on the nature of the extra digit as well as any functional impairment it may be causing. Surgical excision is employed and various reconstruction procedures are also employed in treatment, and must be well planned out to avoid a worsening of function. We present two cases; a 3-month-old baby girl presenting with a hereditary preaxial polydactyly (PPD) (Wassel type V) of both feet and a 29-year-old man with isolated postaxial polydactyly of the right foot with which was symptomatic.
Postaxial
Preaxial
Polydactyly is a congenital anomaly characterized by multiplication of the digits of the hands and feet. It manifests as; a single disorder, multiple disorder or as a component of a syndrome.[1-3] It is typically inherited as an autosomal dominant disorder with variable expression and incomplete penetrance.[4] The genetic mutations occur in different genes thus it is regarded as being genetically heterogenic.[5-7] It is a disorder that has also been found to occur sporadically without any familial trait or any other congenital abnormality.[8] It has an incidence of 0.3–3.6/1000 live births. Noticed however to be commoner in people of African descent.[4,9] The extra digit can present as a skin tag or as a complete digit with accompanying metacarpal or metatarsal bone.[10] In some cases there is an extra digit present on both hands and feet (Polydactyly 24).[11] Temtamy and McKusick classification is the most widely used classification system employed to characterize polydactyly and it is broadly classified into Preaxial Polydactyly PPD, postaxial polydactyly PAP, and complex polydactyly all with various sub classifications.[4] Patients most times present in the neonatal period or in the 1st few months after birth. Some have been seen to present to the clinician later on in life or even in adulthood. Complaints commonly encountered include cosmetically abnormal appearance, pain, and functional impairment of the hand or foot affected. Some patients may have psychological problems from the cosmetically different appearance of the limbs if not excised early in life.[12] Treatment is usually excision of the extra digit. Care must be taken to clearly delineate the type of polydactyly and the accompanying tendon and ligament attachments as well as blood supply to avoid complications that may further impair functionality of the hand following surgery.[13] Complications typically occurring include stiffness, angulation, growth arrests, and nail deformities. We present two cases of polydactyly with variable presentation; one in infancy and the other as an adult.
A mother presented with her 2-month-old baby with complaints of a duplication of the big toes of both feet. These abnormalities were noticed at birth. No other abnormalities were noticed by the mother. The baby, the second child of the parents was the product of a full-term monitored pregnancy. There was no maternal illness during pregnancy and no use of medication during pregnancy except for routine antenatal drugs. No exposure to radiation was identified. Delivery was by spontaneous vaginal delivery. The elder sibling did not have any abnormality. The mother had similar duplication of the toes at birth for which she had excision in infancy. No other family relative was known to have a similar deformity. Examination of the baby revealed complete duplication of both big toes. No other congenital abnormality was identified. A radiograph of both feet revealed preaxial polydactyly with a bifid metatarsal bone in both feet Figure 1. (Wassel V). The parents were counseled on the condition and the baby had an excision of both extra digits Figure 2. The mother was noticed to have small big toes relative to other toes with scars over the metatarsal head medially on both feet Figure 3. Excision was carried out through the metacarpophalangeal joint of the extra digit with the preservation of the lateral soft-tissue structures adjoining the native big toe.
Figure 1:: X rays of both feet of baby showing a bifid first metatarsal in both feet (Wassel V).
Figure 2:: Post operative Clinical Picture of baby's feet.
Figure 3:: Clinical Picture of Mother's feet with small big toes, following excision of polydacyty in infancy.
A 29-year-old man presented to the clinic with complaints of an extra digit on the right foot (duplication of the small toe) which was painful with an increasing severity of the pain in the foot around the extra digit in the preceding few months and a difficulty in wearing shoes due to pain Figure 4. He did not have any extra digits or any other abnormality. The extra digit was said to have been present since birth but had not been symptomatic initially except for intermittent pain which was treated with analgesics previously. The extra digit was initially small but grew during adolescence. When examined he was noticed to have an extra digit over the small toe of the right foot at the lateral border. No other abnormalities were noticed in the other foot or other body parts. X-ray revealed a widening of the head of the fifth metatarsal bone with a duplication of the proximal phalanx Figure 5. Due to the persistent pain, deformity and difficulty wearing covered shoes, he was worked up for and had excision of the extra digit. Pain subsided and he was able to be well shod after surgery Figure 6.
Figure 4:: Clinical picture of 29year old man's foot with polydactyly.
Figure 5:: X ray of the foot of the 29year old man.
Figure 6:: Post OP clinical picture of the foot of the 29year old man
Polydactyly can present in multiple ways. It is can be a familial condition, a component of a syndrome or as an isolated disorder.[3,9] It is a congenital condition and is usually seen at birth with most patients presenting shortly after birth. It is typically inherited as an autosomal dominant disorder with varying degrees of penetrance and also can present as an isolated disorder without familial occurrences and no other abnormalities.[4,8] The cases presented are non syndromic polydactylies manifesting as familial and isolated disorders, respectively. The first case presented shortly after birth. She had a familial variety as her mother had also been born with the same bilateral preaxial polydactyly for which she had excision. No other congenital anomaly was noted ruling out its existence in a syndrome. She had a bifid first metatarsal with a complete duplication of all phalanges on both feet. She had an excision of the extra digits through the metatarsophalangeal joint, with sparing of the soft-tissue structures on the lateral side to prevent functional impairment to the native hallux. Her immediate postoperative foot had a cosmetically acceptable appearance. Complications post-surgery can be in the form of stiffness, angulation, shortening or nail deformity.[13] The patient's mother who had excision of her extra digits during infancy was noticed to have hypoplastic big toes which can occur when vascular supply to the residual toe is compromised during surgery. Care must be taken during excision to avoid damage to supplying blood vessels as well as ligaments and tendons of the residual digits to limit post-operative complications.
The second case was a 29-year-old man. He presented with and isolated postaxial polydactyly. This was quite unusual due to the age of this presentation as most cases are seen in the neonatal period or in infancy. His complaints were largely pain and difficulty in wearing covered shoes. He noticed increasing pain in the foot during his teenage years, typically with the growth spurt that occurs during this period. There was also an increased growth of the extra digit. The pain and deformity worsened and was very discomforting. Apparently the presence of the extra digit alone had not been as worrisome as the difficulty in wearing shoes, which had an adverse effect on his job. The resultant pain from attempting to force his feet into shoes was the indication for his seeking treatment for the deformity.
Polydactyly presents in different ways with different reasons for the patients seeking care. Although a congenital condition, some patients may be seen for the 1st time in adulthood. Excision must be carefully carried out to prevent complications.
The authors certify that they have obtained all appropriate patient consent forms.
Goldfarb CA, Wall LB, Bohn DC, Moen P, van Heest AE. Epidemiology of congenital upper limb anomalies in a midwest United States population: An assessment using the Oberg, Manske, and Tonkin classification. J Hand Surg. 2015;40:127-32.e1-2.
Mbuyi-Musanzayi S, Lumaka A, Asani BY, Kasole TL, Tshilobo PL, Muenze PK, et al. Preaxial polydactyly of the foot: Variable expression of trisomy 13 in a case from Central Africa. Case Rep Genet. 2014;2014:365031.
Chen CP, Wang LK, Chern SR, Wu PS, Chen SW, Wu FT, et al. Wolf-Hirschhorn syndrome: Prenatal diagnosis and molecular cytogenetic characterization of a de novo distal deletion of 4p (4p16.1→pter) in a fetus with facial cleft and preaxial polydactyly. Taiwan J Obstet Gynecol. 2020;59:425-31.
Umair M, Ahmad F, Bilal M, Ahmad W, Alfadhel M. Clinical genetics of polydactyly: An updated review. Front Genet. 2018;9:447.
Barone C, Novelli A, Capalbo A, Del Grano AC, Giuffrida MG, Indaco L, et al. An additional clinical sign of 17q21.31 microdeletion syndrome: Preaxial polydactyly of hands with broad thumbs. Am J Med Genet A. 2015;167:1671-3.
Volodarsky M, Langer Y, Birk OS. A novel GLI3 mutation affecting the zinc finger domain leads to preaxial-postaxial polydactyly-syndactyly complex. BMC Med Genet. 2014;15:110.
Ni F, Han G, Guo R, Cui H, Wang B, Li Q. A novel frameshift mutation of GLI3 causes isolated postaxial polydactyly. Ann Plast Surg. 2019;82:570-3.
Materna-Kiryluk A, Jamsheer A, Wisniewska K, Wieckowska B, Limon J, Borszewska-Kornacka M, et al. Epidemiology of isolated preaxial polydactyly Type I: Data from the polish registry of congenital malformations (PRCM) BMC Pediatr. 2013;13:26.
Goldfarb CA, Shaw N, Steffen JA, Wall LB. The prevalence of congenital hand and upper extremity anomalies based upon the New York congenital malformations registry. J Pediatr Orthop. 2017;37:144-8.
Dijkman RR, van Nieuwenhoven CA, Selles RW, Habenicht R, Hovius SE. A multicenter comparative study of two classification systems for radial polydactyly. Plast Reconstr Surg. 2014;134:991-1001.
Atanda OO, Owonikoko KM, Adeyemi AS, Bajowa O. Polydactyly 24 in a female neonate. Case Rep Obstet Gynecol. 2013;2013:798138.
Perez NM, Raciti MC. Polydactyly in a young boy: A cause of teasing and local tribal suspicion. JAAPA. 2011;24:31-3.
de Almeida CE. Analysis of surgical results and of residual postoperative deformities in preaxial polydactyly of the hand. J Plast Reconstr Aesthet Surg. 2017;70:1420-32.
Emergency extraction of accidental impacted upper denture in… May 26, 2020
Orbital advancement using the modified buttress technique in… April 22, 2021
Lassa fever coinfection with COVID-19 among health care… August 19, 2021


text:
57th Venice Biennale 2017
Viva Arte Viva - Introduction
By Christine Macel, curator of the central international art exhibition
The Exhibition: Focus on Art and Artists
Today, in a world full of conflicts and shocks, art bears witness to the most precious part of what makes us human. Art is the ultimate ground for reflection, individual expression, freedom, and for fundamental questions. Art is the favourite realm for dreams and utopias, a catalyst for human connections that roots us both to nature and the cosmos, that elevates us to a spiritual dimension. Art is the last bastion, a garden to cultivate above and beyond trends and personal interests. It stands as an unequivocal alternative to individualism and indifference. It builds us up and edifies us. At a time of global disorder, art embraces life, even if doubt ensues inevitably. The role, the voice and the responsibility of the artist are more crucial than ever before within the framework of contemporary debates. It is in and through these individual initiatives that the world of tomorrow takes shape, which though surely uncertain, is often best intuited by artists than others.
VIVA ARTE VIVA is an exclamation, a passionate outcry for art and the state of the artist. VIVA ARTE VIVA is a Biennale designed with artists, by artists and for artists, about the forms they propose, the questions they ask, the practices they develop and the ways of life they choose.
Rather than broaching a single theme, VIVA ARTE VIVA offers a route that moulds the artists' works and a context that favours access and understanding, generating connections, resonances and thoughts. The journey unfolds over the course of nine chapters, or families of artists, beginning with two introductory realms in the Central Pavilion, followed by another seven across the Arsenale through the Giardino delle Vergini. Each chapter represents a Pavilion in itself, or rather a Trans-Pavilion as it is trans-national by nature but echoesthe Biennale's historical organisation into pavilions, the number of which has never ceased to grow since the end of the 1990s. This semantic nod addresses the often debated relevance of the national pavilions, whilst going beyond it, as each chapter mixes artists of all generations and origins. There is however, no physical separation between the various pavilions, which flow together like the chapters of a book.
From the Pavilion of Artists and Books to the Pavilion of Time and Infinity, these nine episodes tell a story that is often discursive and at times paradoxical, with detours that mirror the world's complexities, a multiplicity of approaches and a wide variety of practices. The exhibition is intended as an experience, an extrovert movement from the self to the other, towards a common space beyond the defined dimensions, and onwards to the idea of a potential neo-humanism. This movement of the self towards the unknown, where experience and speculation are at the forefront is in and of itself a response to a conservative environment, defying bias, distrust and indifference.
VIVA ARTE VIVA also seeks to convey a positive and prospective energy, which whilst focusing on young artists, rediscovers those passed away too soon or those who are still largely unknown despite the importance of their work. These discoveries and recoveries give way, in each pavilion, to a communion of artists from several generations, offering perspectives on questions that were often broached as early as the 1960s and specially the 1970s. These issues are revisited by artists in today's world of constant anthropological and societal change. The artists' interpretations hinge on forms that reflect the concerns of the civil society. After all, art may not have changed the world, but it remains the field where it can be reinvented.
Starting with the Pavilion of Artists and Books, the exhibition reveals its premise, a dialectic that involves the whole of contemporary society, beyond the artist himself, and addresses the organisation of society and its values. Art and artists are at the heart of the exhibition, which begins by examining their practices, the way they create art, halfway between idleness and action, otium and negotium. The Roman otium, and its Greek predecessor scholè, originally understood as a privileged moment, is nowadays improperly translated as idleness of pejorative connotation, or leisure, which is not far removed from entertainment. The word otium, in contrast with the business world or negotium, from which the artist can never really escape, implies a space for free time, for inactivity and availability, a space of productive idleness and mind work, of quietness and action, a space where the work of art comes to be.
The decision to become an artist, in and of itself, requires taking a stance in society, one that is today broadly popular and widely acknowledged, but is perceived nevertheless as an act of calling into question work -and its by-product: money- as the absolute value in the modern world. Being an artist means differentiating between the private individual and the public individual, not as a person of media but as someone who is confronted with the res publica. Indeed, while the artist produces artworks that are meant to be commercialized, the modes of production of his or her disposal include an alternative within which the need for inactivity or rather non-productive action, for mind wandering and research, remain paramount. This position inevitably has consequences on the way in which free time is perceived by society: it is no longer a time to be spent or even consumed, but a time for oneself.
The Nine Trans-Pavilions:
The Pavilion of Artists and Books opens on a tension between action and inaction, between laziness and active engagement. This section of the exhibition looks at ways of being an artist, the reasons, both good and bad for "making art" today, looking also – with a hint of sarcasm – at the art milieu itself. This pavilion gives us a glimpse of the artists' studios; some of which increasingly resemble offices, warehouses or collective workplaces. Studios are no longer only places for introspective and solitary research. Some have become full-scale laboratories that congregate multiple skills and a particular hierarchy. No longer "factories" but rather workshops built around a communal life with shared qualifications and a horizontal, interconnected organisation, the doors of the studios are in fact wide open onto the public sphere.
The material and spiritual worlds of artists are unfolded in this pavilion, in particular through their relationship with books, texts and knowledge in its broadest sense, which is a recurrent theme in several artists' works. In an era described as post-internet the relationship between artists and the written word does not appear to have relaxed but rather it has been enriched with new meanings. The ambivalence of the artist in regards to the written word and especially to meaning, forecasts a deep transformation in terms of language, knowledge, the means to access knowledge and its place in society. Meanwhile the artist continues to define himself in relation to the history of art, just as he has always done.
After this Pavilion, the exhibition develops organically in a series of pavilions, rooms or stanze, inviting visitors into an experiential journey from interiority to infinity.
The Pavilion of Joys and Fears explores the relationship between the individual and his own existence, his emotions and feelings or the ones he tries to generate. In a world shaken by conflicts, wars, and increasing inequality that lead to populism and anti-elitism, subjective emotions resurface, now more than ever. This forces us to reconsider the human being, not only as a reasonable being capable of building a new, free and fraternal world, but also how he grapples with his impulses and emotions, including the less noble ones of fear, anxiety or aggression. A vulnerable and fragile self comes to light. New feelings of alienation due to forced migrations or mass surveillance, feelings of oblivion, distortion, and suspension gain momentum. At the same time, several artists think of the individual in its most private dimension, delving into their own relationships with their close ones or their ties to their country of origin. Some artists resort for instance to science fiction and cartoon-like imagery to address such feelings of melancholy and alienation. They reappropriate the self, its body and emotions, as the too-often forgotten source and the home for our thoughts. The reinvention of humanism is thus grounded on reason and, far from being isolated, it is connected to the reality of emotions.
Next on our journey, The Pavilion of the Common greets us in the Arsenale around the work of artists exploring the notion of the common world and the way to build a community, as a way to counter individualism and self-interests, which represent a worrisome threat in today's troubling climate. This topic was particularly vibrant in the history of contemporary art from the late 1960's through the 1970's, and remains just as relevant to this day, although tarnished by the failings and disillusions of such utopian dreams. The anthropological aspect is particularly important here, with a number of historical works addressing the issue of the common world where conceptions of the world appear the most different, or rooted to the earth and community as common denominators, regardless of ideology. Several artists have even embraced the participatory approach as a recurrent modus operandi that they implement with varying scales.
Other more ambivalent works regret the loss of the common and express their longing, although sometimes with the feeling of having reached a dead end. How do you build something in common in a world that has failed to realize all its projects of equality and fraternity, other than by attempting to recreate, here and there, at the micropolitical level, conditions for new possibilities?
Likewise, The Pavilion of the Earth is centred onenvironmental, animal and planetary utopias, observations and dreams. From communitarian utopias reminiscent of the ecological or esoteric ideas typical of the 1970s, to current theories about the ties between climate and capitalist strategies, as well as individual fictions; all conjure both a sense of melancholy and a profound joy. Some utopias go back to the beginnings of ecology, and interpret the work of art within an extended scope that reaches through the environment and life itself. With a systematic rejection of the world of individualist and sedentary progress, some artists continue to act on the fringes of the art system, while others narrate the turmoil of their environment. Issues of energy conversion and industrial transformation, and the exploitation of our planet's resources, are analysed through a historical prism, particularly as it relates to colonial history, and pervade the works of many artists, combining nostalgia and a sense of a future unknown.
The Pavilion of Traditions
Traditions that were once rejected in the 18th century by the Enlightenment and later by secular modernity, have re-emerged in the worst sense, , namely fundamentalism and conservatism, sparking rejection and nostalgia for the past believed to be better. However and in spite of the many hesitations experienced as part of modernity and its faith in the project of a new man, the past thirty years have provided the opportunity, in the field of art, to question tradition no longer from the point of view of customs and behaviours, often associated with religion or morality, but through the lens of dialogue between the old and the recent. The last few years have seen a plethora of artists explore not only contemporary or recent history, but also a more distant past, as if fired by the fever of archaeology, excavation, re-interpretation and reinvention. A sign of unstable times, tainted by a feeling of a by-gone era that must open up to new values, art delves into long past historical references in an urge for legitimacy, rebirth and reinvention.
In The Pavilion of the Shamans, many artists subscribe to the definition of the artist as a "shaman", and there are also those who become "missionaries", as per Duchamps's definition, stirred by an internal vision. This figure, which Joseph Beuys made his own, from which few managed to recover, and was mostly -in retrospect- underestimated, takes on today a new dimension, at a time where the need for care and spirituality is greater than ever. This spiritual turning point, characterized by the concern for others and meditation, appeals sometimes to various philosophies, in particular Buddhism or Sufism. Other artists seek to exorcise and purify in a post-colonial context, banishing exploitation and slavery a posteriori. The invention of stories or performances reminiscent of therapeutic rituals illustrates the aspiration towards the sacred, admittedly a key feature of the beginning of the 21st century, although without any religious digression. The artistic and political contribution attempts to transcend the ruins of the past and the wounds of the present, in a tone that is not exempt of playfulness, sometimes material, at others ironic.
The Dionysian Pavilion celebrates the female body and its sexuality, life and pleasure, all with joy and a sense of humour, and features numerous works created by female artists. Drawings, costumes, geometrical paintings with erotic lines, organic sculptures and photographs reinvent the image of the female body, no longer seen through the gaze of desire but from within or from its edges. The Pavilion is a hymn to sensuality and inebriation, combined with music, dance, singing, and trance as ways to access this dimension, where new states of consciousness seem possible.
The Pavilion of Colours
According to well-known neuroscientific studies, colours do not exist in themselves but are the result of a cognitive function performed by the human brain and eyes as they decipher reality. Colours thus appear to be a particularly subjective source of emotion, which calls to reconsider the relevance of the phenomenological approaches of art. With a fine balance between finesse and transparency, light and spirituality, haptic experience and visual explosion, loaded sometimes with anthropological, even political, connotations, The Pavilion of Colours can be described as the "fireworks" at the end of the journey through the Arsenale, where all the questions presented in the preceding pavilions come together to provide what might be described almost as an "out-of-self" experience prior to the final chapter.
The Pavilion of Time and Infinity
What form would a metaphysical approach to art take? Time as a flow of continuous mutations and impermanence that eventually lead to death, has inhabited the work of artists since the 1970s, when conceptual performance combined thoughts on the length of time and the inevitable fall. Reformulated by artists since the 1990s at the time of "presentism", or suspended time and "hyper-instantaneousness", the notion of time re-emerges today with a new metaphysical quality, within borgesian mazes and speculations of a future that is already embedded in the present, or in an ideal infinity. In face of the lagoon, the artist disappears or reinvents himself as "improved", through the power of hypnosis.
Parallel projects and events follow the same curatorial premise, which is to place artists at the heart of the exhibition VIVA ARTE VIVA. The catalogue is exclusively dedicated to the artists who are invited to present visual and textual documentation about their practice and their environment.
Artists will be the guiding force behind VIVA ARTE VIVA in more ways than one. In addition to their participation in the exhibition, they will begiven the opportunity to be heard. Every Friday and Saturday during the six months of the exhibition, artists will host an Open Table (Tavola Aperta) and meet visitors over a casual lunch to hold a lively conversation about their practice. These biweekly events will be organized in two dedicated spaces refurbished for this purpose in front of the Central Pavilion of the Giardini and in the Sala d'Armi in the Arsenale.
The Open Table (Tavola Aperta) events will be filmed and streamed live on La Biennale's website.
A permanent space will also be created in both exhibition venues for the Artists Practices Project, a series of short videos made by the artists about themselves and their way of working. In the weeks preceding the vernissage of VIVA ARTE VIVA, a new video will premiere every day on La Biennale's website, giving the public the opportunity to become familiar with the participating artists even before the exhibition opens.
These two parallel projects are open to all artists in the Biennale. The artists representing the National Pavilions are welcome to host their own Open Table (Tavola Aperta) event on Wednesdays and Thursdays. They are also invited to join the Artists Practices Project with their videos. VIVA ARTE VIVAthus hopes to reinforce and build on the unity of the Biennale around the artists themselves.
Finally, the project titled Unpacking My Library, inspired by Walter Benjamin's essay published in 1931, allows the artists of VIVA ARTE VIVA to compile a list of their favourite books. This is both a way to get to know the artists better and a source of inspiration for the public (Walter Benjamin - Unpacking My Library: a Talk about Book Collecting, followed by a list of the texts read and collected by the author). The list of books will be published in the exhibition at the Central Pavilion and in the catalogue. The books listed by all the participating artists will be available to visitors at the Stirling Pavilion in the Giardini.
Special projects and performances
Several special, site specific and performance projects have been commissioned especially for the Giardini, the Giardino delle Vergini and other venues around the city of Venice. A dense programme of approximately twenty performances will be held during the opening week. The performances will all be filmed and streamed live on La Biennale's website. The videos will remain on view in a dedicated room of the Arsenale.
(Press information, 6 February 2017
© Photo: Universes in Universe)
57th International Art Exhibition
13 May - 26 November 2017
Central international exhibition
Curator: Christine Macel
Also interesting in UiU:
Internat. Architecture Exhibition, 23 May - 29 Nov. 2020. Curator: Hashim Sarkis.
59th International Art Exhibition, May - Nov. 2021. Artistic Director: Cecilia Alemani.
Photo tours and information: Contemporary arts, cultural heritage, archaeological sites
Biennials Calendar
Current and upcoming events to be sorted by name, country, start or closing date