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Les Anges musiciens désignent deux tableaux réalisés à la fin du  afin d'encadrer celui de La Vierge aux rochers de Léonard de Vinci. Ils ont pour fonction d'orner les panneaux latéraux du retable de l'Immaculée Conception, créé pour la décoration d'une chapelle de l'église Saint-François-Majeur de Milan. Séparés tout à la fin du  de leur retable d'origine, ils sont conservés depuis 1898 à la National Gallery à Londres.

Les deux tableaux sont datés entre 1495 et 1499. Le premier s'intitule Ange musicien en vert jouant de la vièle ; il est depuis longtemps attribué au peintre italien de la Renaissance Giovanni Ambrogio de Predis, mais la recherche récente montre qu'il pourrait plutôt être dû à Francesco Napoletano, l'un des élèves de Léonard de Vinci. Le second, nommé Ange musicien en rouge jouant du luth, est généralement attribué à Ambrogio de Predis. L'influence de Léonard de Vinci est patente dans le traitement de ces sujets classiques.

Les deux tableaux sont certes décrits par des documents contemporains à leur création mais ceux-ci ne le font qu'indirectement car ils concernent principalement La Vierge aux rochers. Aussi demeurent-ils objets de spéculations pour les chercheurs quant à leur statut de première ou seconde version de l'œuvre, leur création, leur attribution, leur datation, leur disposition exacte sur le retable et les raisons qui ont poussé à leurs modifications au cours du temps — notamment pour ce qui concerne la couleur du fond.

Description

Les deux tableaux sont portés sur un support identique : des panneaux de peuplier. Tous deux utilisent le même médium : de la peinture à l'huile de noix. Leurs dimensions, très proches, sont de  pour l'Ange musicien en vert et de  pour l'Ange musicien en rouge.

Les deux panneaux présentent de nombreuses similitudes : chacun comporte un seul personnage exposé en pied, qui se tient dans une niche en trompe-l'œil proposant les mêmes dégradés de gris. Les personnages se tiennent en appui sur leur jambe droite et avancent leur pied gauche vers le spectateur. Des ailes s'ouvrent légèrement dans leur dos, qui indiquent leur nature d'ange. Les cheveux longs et bouclés, ils sont vêtus d'une longue robe de couleur dont le col est rond pour l'un et carré pour l'autre. Chacun tient un instrument de musique dont il semble jouer. Leurs différences tiennent dans l'instrument duquel ils jouent, leur posture pour le faire ainsi que l'aspect et la position de leur tête. Ainsi, l'ange en vert joue de la  ; il semble frotter l'archet sur les cordes. Il incline la tête vers son instrument selon un port identique à celui de la Vierge dans La Vierge aux rochers de Léonard de Vinci. L'ange en rouge joue du luth ; sa main pince les cordes de l'instrument. Son visage, vu de profil, est tourné vers la gauche du spectateur.

Historique

Attributions

Les chercheurs s'accordent pour considérer que les deux panneaux sont issus de l'atelier de Léonard de Vinci : en effet, ils se rapprochent du style que le maître déploie dans la version londonienne du panneau central du retable (La Vierge aux rochers) ; par ailleurs, les trois panneaux du retable témoignent de procédés techniques similaires  qui, pour certains, sont à l'origine de problèmes identiques .

Plus précisément, la tradition a longtemps estimé que les deux tableaux étaient de la seule main de Giovanni Ambrogio de Predis puisque ce dernier fait partie des trois artistes désignés dans le contrat de commande, chacun ayant un rôle identifié par les historiens de l'art : à Léonard de Vinci le panneau central du retable, à Evangelista de Predis les dorures et à son frère Ambrogio les deux panneaux latéraux. Pourtant, de nombreux indices stylistiques et techniques tendent à montrer que les deux œuvres, malgré leurs grandes similarités visuelles, sont issues de deux mains différentes. Ainsi l'attribution de lAnge musicien en rouge bénéficie d'un consensus en faveur de Giovanni Ambrogio de Predis. De son côté, si lAnge musicien en vert a été longtemps attribué à ce même peintre, des recherches conduites à la fin du  l'attachent désormais beaucoup plus sûrement à Francesco Napoletano, un élève de Léonard de Vinci. En effet, les caractéristiques techniques visibles par la seule imagerie scientifique, telle la proportion très différente entre les couleurs et le noir pour le rendu de la peau par exemple, indiquent que le tableau est probablement dû à un autre artiste que celui qui a créé lAnge musicien en rouge. Par ailleurs, des comparaisons techniques et stylistiques avec les créations de la même période de Napoletano, comme une Vierge à l'Enfant (aujourd'hui conservée à l'Académie des beaux-arts de Brera à Milan) ou La Vierge et l'Enfant avec Saint Sébastien et saint Jean le Baptiste (aujourd'hui conservé à Zurich), tous deux datés de la fin des années 1480, conduisent à ce peintre. Enfin, l'hypothèse d'un autre disciple de Léonard de Vinci, Marco d'Oggiono, est parfois évoquée mais sans convaincre.

Une comparaison qui permet d'attribuerl'Ange en vert à Francesco Napoletano.

Une comparaison qui permet d'attribuerl'Ange en rouge à Ambrogio de Predis.

Titres

Les titres modernes des œuvres correspondent à leur description. Ils sont établis dans l'ensemble de la littérature scientifique en Ange musicien en rouge jouant du luth et Ange musicien en vert jouant de la vièle. Néanmoins, concernant ce dernier tableau, la plupart des historiens de l'art spécialisés en peinture identifient incorrectement l'instrument joué par l'ange avec une vièle alors qu'il joue de la . Bien qu'il devrait être Ange musicien en vert jouant de la lira da braccio, c'est donc un titre qui s'est imposé de façon impropre, aussi bien en français qu'en anglais.

Datation

Il est raisonnable de penser que les deux tableaux ont été concomitamment élaborés entre 1495 et 1499 même si cela contredit pour partie l'estimation de la National Gallery qui date lange en vert entre 1490 et 1499.

Certes, au plus tôt, et en tenant compte de la phase préparatoire de production des œuvres, les deux tableaux sont créés à partir de 1490 car ils s'inspirent nettement de la version londonienne de La Vierge aux rochers qui elle-même est datée entre 1491 et 1499 (puis, après une pause de quelques années, entre 1506 et 1508). Mais plus précisément, il est admis que lAnge musicien en vert s'inspire de la figure de Jean l'évangéliste de La Cène (1495-1498, Milan, Église Santa Maria delle Grazie) dont la création remonte à partir de 1495. De plus, Ambrogio de Predis ne rentre d'Innsbruck, où il se trouvait en compagnie de Francesco Napoletano à l'invitation de Blanche-Marie Sforza, qu'en juillet de cette année. Enfin, l'analyse technique indique clairement que les deux panneaux ont été créés en même temps et exclut donc des créations à plusieurs années de distance comme cela a pu être soutenu.

Par ailleurs, cette création ne peut avoir lieu après 1501, date de la mort de Francesco Napoletano, auteur putatif de lAnge musicien en vert.

Néanmoins, certains auteurs, minoritaires, retardent fortement la création des deux panneaux : ils s'appuient notamment sur l'hypothèse selon laquelle Giovanni de Predis se serait inspiré du portrait d'Isabelle d'Este réalisé par Léonard de Vinci et qui date de 1499-1500 pour créer lAnge musicien en rouge. Ils en estiment ainsi la création à 1506-1508, soit durant la période finale de la production de La Vierge aux rochers.

Contexte de création et commande initiale

La création des panneaux des Anges musiciens s'inscrit dans le cadre de la décoration d'un retable, le retable de l'Immaculée Conception, lui-même pièce maîtresse d'une chapelle nouvellement bâtie, entre 1475 et 1480, au sein de l'église Saint-François-Majeur de Milan. En 1482, le sculpteur sur bois Giacomo del Maino (avant 1469 - 1503 ou 1505) livre ainsi une structure de grandes dimensions qu'il reste à décorer. Trois artistes sont alors mandatés afin d'en assurer la dorure du bois de charpente et des parties sculptées ainsi que la peinture sur les panneaux : ce sont les frères Evangelista et Ambrogio de Predis et Léonard de Vinci. C'est Ambrogio qui est chargé de la création des deux panneaux consacrés aux anges musiciens, très certainement sous la supervision de Léonard. Selon toute hypothèse, ces deux tableaux sont destinés à encadrer celui qui prendra beaucoup plus tard le nom de Vierge aux rochers. Selon les prescriptions indiquées par le contrat de commande, chaque panneau doit alors comporter quatre anges, les uns chantant, les autres jouant de la musique. Mais finalement, ils ne comportent chacun qu'un seul ange musicien : l'ange de gauche joue de la  et celui de droite joue du luth.

Commanditaire et cheminement des œuvres

Le commanditaire de l'œuvre est la confrérie de l'Immaculée Conception, une confrérie laïque milanaise se rattachant à l'église Saint-François-Majeur de Milan (en ) : un contrat est signé devant notaire le  entre la confrérie d'une part et, d'autre part, Léonard de Vinci et les portraitistes et miniaturistes, les frères Evangelis et Giovanni Ambrogio de Predis. La date contractuelle d'échéance de livraison des deux panneaux est la même que le panneau central, La Vierge aux rochers, soit le  1483.

Néanmoins, les commanditaires étant insatisfaits de la création de Léonard de Vinci, celui-ci se voit dans l'obligation de vendre sa première production et d'en produire une seconde à partir du début des années 1490. Une difficulté d'identification et donc de datation des deux panneaux latéraux surgit dès lors, car il est très probable qu'ils aient connu un sort identique et que ceux qui sont actuellement conservés à la National Gallery ne soient pas ceux qui ont été originellement peints pour le retable. En effet, à l'instar de la version de Londres de La Vierge aux rochers qui a pris la place de celle du Louvre sur le retable, ils pourraient constituer la seconde version d'une première aujourd'hui perdue et dont il est possible qu'ils aient été cédés à celui qui a acheté la première version du panneau central. Quoi qu'il en soit, ce serait bien les deux panneaux que nous connaissons qui sont exposés au plus tard en 1503 au sein du retable avec la seconde version de la Vierge aux rochers.

1781 marque la séparation des œuvres composant le retable de l'Immaculée Conception puisque La Vierge aux rochers est vendue à un collectionneur anglais : de fait, un témoignage datant de 1798 indique que les Anges musiciens sont encore à leur place dans le retable et encadrent le vide laissé par le tableau de Léonard de Vinci. Après la création de la République cisalpine par le général Bonaparte, ils sont mis sous séquestre dans le « Fonds de la religion de la République Cisalpine » (en ) pour être vendus en 1802, peu avant sa mort, au collectionneur d'art Giacomo Melzi. En 1898, son descendant, Giovanni Melzi d'Eril, les vend à la National Gallery où ils demeurent depuis.

Modifications et état de conservation

Après leur création, les deux panneaux ont subi des modifications dans leur dimensions : agrandissement dans la largeur  et, au contraire, réduction de la hauteur. Il semble notamment que leur parties supérieures devaient posséder originellement une forme en arche comme le présente le panneau central de La Vierge aux rochers. Enfin, il apparaît depuis des études conduites en 1975 que les fonds apparaissant actuellement sous la forme de niches grises sont des repeints : derrière lAnge musicien en vert s'étalaient deux masses, une verte surmontée d'une autre bleutée, correspondant certainement à un paysage, l'huisserie correspondant certainement à une ouverture, comme une baie en forme d'arcade ; et l'arrière-plan de lAnge musicien en rouge présentait une niche dont la couleur rosâtre se voulait une imitation de pierre rouge-brun.

Les panneaux présentent un état moyen de conservation. En effet, leurs surfaces picturales apparaissant en gris présentent des problèmes d'adhérence puisque ces zones sont des repeints qui ont été effectués sur une couche de vernis sale. Par ailleurs, d'autres zones ont subi des complications liées à leur séchage pendant leur création, ce qui est à l'origine de craquelures situées notamment dans les zones les plus sombres ainsi que les draperies ; cela apparaît plus particulièrement sur le panneau de lAnge musicien en rouge, sur une large zone de repentir correspondant à la caisse de résonance du luth et au bras du personnage.

Création

Processus de création

Les chercheurs considèrent que les deux peintres ont fondé leur travail sur l'utilisation d'un modèle identique : en effet, les corps des deux personnages sont très proches par leur taille, leur pose et les drapés qu'ils soutiennent ; plus révélateur, bras droits et épaules se superposaient avant le déplacement en cours de création du bras de l'ange en rouge comme le montre l'analyse par imagerie scientifique.

Le dessin sous-jacent de chaque œuvre indique l'utilisation de deux techniques très différentes, confirmant par là que les œuvres sont bien de deux peintres : ainsi, le créateur de l'ange en vert a utilisé un carton, procédé technique où le peintre transfère son dessin sur le support préparé en le piquant avec des aiguilles ; quant à l'ange en rouge, le peintre a utilisé une grille, visible par réflectographie, puis a reproduit le dessin à main levée.

L'analyse radiographique montre que les deux tableaux ont été créés en deux temps distincts : création des corps des personnages puis création de leur tête. Une comparaison entre les dessins sous-jacents des différentes zones montre en effet qu'une attention et une minutie particulières ont été portées sur la tête dans chaque œuvre : les chercheurs en déduisent que des études distinctes ont été produits pour ces zones, sans que cela n'implique forcément que ces parties soient de mains différentes.

Enfin l'analyse par réflectographie infrarouge réalisée par le laboratoire de la National Gallery fait apparaître fait une large zone de repentir sur le panneau de lAnge musicien en rouge : en effet, la caisse de résonance du luth ainsi que le bras du personnage ont été excentrés vers le bord du tableau.

Influences

En tant que représentations de figures vues en pied et situées au sein de niches, les Anges musiciens s'inspirent nettement de l'angle de vue, de l'attitude et de la situation des personnages de la série de fresques des Hommes d'armes peintes par Bramante à peine quelques années plus tôt, en 1486-1487.

Par ailleurs, les tableaux bénéficient de la forte influence d'œuvres de Léonard de Vinci et plus particulièrement de la version de la National Gallery de La Vierge aux rochers, comme l'indiquent leur style, leur facture mais aussi le fait que leurs figures offrent une plus grande cohérence dans l'échelle des proportions avec celles de cette seconde version. De fait, les deux œuvres sont créées selon toute vraisemblance sous la supervision de Léonard : le choix de représenter une lira da braccio plutôt qu'une vièle pourtant plus courante peut ainsi en constituer la confirmation, le maître étant décrit par son biographe Giorgio Vasari dans ses Vite comme un excellent joueur de l'instrument ; l'existence de défauts techniques similaires aux productions de Léonard (en particulier des craquelures ou des agglomérats) l'attesterait également.

En ce qui concerne lAnge musicien en vert, son visage et son port de tête (angle formé par le cou et rotation de la tête par rapport aux épaules) reprennent très nettement la manière du maître florentin : ils sont très proches de ceux de la Vierge de la version londonienne de La Vierge aux rochers ; de la même manière, ils se retrouvent chez Jean l'évangéliste dans La Cène.

De la même manière, selon certains auteurs, il se pourrait que la source d'inspiration pour le portrait de lAnge musicien en rouge soit le Portrait d'Isabelle d'Este de Léonard de Vinci : une même vue de profil du visage, une position des épaules identique, un mouvement semblable de la masse de la chevelure sur la tête et les épaules et la même frange bombée sur le front de l'ange reprenant le contour d'un voile, aujourd'hui invisible sur le portrait… Enfin, la trace d'un quadrillage sur la surface préparatoire au tableau tend à confirmer la possibilité que le visage de l'ange constitue la reproduction par agrandissement d'échelle d'un portrait déjà exécuté, comme c'est le cas du tableau inachevé de Léonard de Vinci. Néanmoins, cette hypothèse conduit à repousser la date de création de lange en rouge après 1500, datation que les recherches actuelles tendent à infirmer.

<center>'Portrait ayant pu servir de modèlepour le visage de l'Ange en rouge.</center>

 Analyse
 Traitement des figures
Bien qu'ils bénéficient très vraisemblablement de l'assistance de Léonard de Vinci, les deux peintres créateurs des panneaux ne soutiennent pas la comparaison avec les productions du maître. Par opposition à celles présentes dans La Vierge aux rochers, les deux figures sont en effet décrites comme « rigides et angulaires », leurs contours sont plus marqués et les drapés de leurs vêtements sont « stylisés et plats » : le contraste est ainsi net entre le visage de l'ange en vert et celui de son modèle, la Vierge, aux ombres plus douces et subtiles, confirmant dans cette dernière une plus grande maîtrise de la technique du sfumato. De fait, les deux panneaux sont considérés par les critiques d'art comme très peu innovants du point de vue iconographique au contraire de La Vierge aux rochers.

Les deux personnages diffèrent entre eux par les couleurs employées, notamment dans le rendu des chairs : les tons sont plus chauds dans l'ange en rouge que de l'ange en vert car le peintre y emploie plus volontiers du rose-brun et moins le noir que son collègue.

 Une représentation dans le cadre d'une tradition

Exemples de représentations d'anges musiciensdans des œuvres contemporaines de la création des panneaux

Les deux tableaux présentent chacun un ange qui joue de la musique : ils se placent ainsi dans la continuité d'une tradition d'une représentation médiévale, celle des anges musiciens. La figure de l'ange musicien remonte au . Elle évolue au cours des siècles pour proclamer la gloire d'une figure illustre de la Bible, telle la mère de Dieu qu'est la Vierge Marie. Ainsi, ils apparaissent quand ils concernent Marie dans le cadre d'événements significatifs de sa vie : Annonciation, Vierge à l'Enfant, Assomption ou Couronnement. Entre autres, le luth et la vièle constituent des instruments privilégiés tandis que la lira da braccio est un instrument beaucoup plus rare.

 Le mystère de la paire mal assortie

Proposition de restitution des couleurs originalesselon l'analyse de la couche picturale profonde.(Le cadre rouge délimite les dimensions actuelles de chaque panneau.)

Des analyses conduites en 1974 et confirmées par une étude récente à l'aide de la réflectographie par infrarouge montrent que les panneaux ont subi une profonde modification des couleurs du fond : lAnge musicien en vert jouant de la vièle présentait en arrière-plan une baie dont l'encadrement était vert et ouvrait sur un paysage aux couleurs vertes et bleues ; quant à lAnge musicien en rouge jouant du luth, l'arrière-plan formait une niche de couleur rougeâtre imitant certainement la pierre. Or, les œuvres ont subi un repeint en gris sans doute destiné à uniformiser les couleurs. D'après l'hypothèse de Rachel Billinge, Luke Syson et Marika Spring, comme les panneaux surplombaient celui de La Vierge aux rochers, l'éclat de leurs teintes ne pouvait détonner avec lui ; en revanche, une fois déplacés de part et d'autre, se révélait un contraste si flagrant qu'un repeint dans des couleurs neutres s'imposait.

Dès lors, se posent plusieurs questions : pourquoi ce choix initial de couleurs considérées comme mal assorties ? Donne-t-il une indication sur la disposition des panneaux situés au-dessus de celui de La Vierge aux rochers, comme l'affirment les historiens de l'art de la National Gallery ? Finalement, les dernières recherches posent plus de questions qu'elles n'apportent de réponses.

 Postérité

Certainement considérés comme des œuvres mineures du temps même de leur création, les deux panneaux des Anges musiciens ne connaissent pas la fortune du panneau qu'ils encadraient : ils ne font donc l'objet que d'une copie connue, dans le cadre de celle effectuée minutieusement sur La Vierge aux rochers'' par Andrea Bianchi dit « il Vespino » et datée vers 1611-1614. Il est toutefois possible qu'une seconde copie ait existé dans l'église Santa Maria della Passione à Milan. Quoi qu'il en soit, ces deux seules copies sont désormais considérées comme disparues.

Notes et références

Notes

Références

Annexes

Bibliographie

Ouvrages
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Articles
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Tableau des années 1490
Œuvre conservée à la National Gallery
Ange musicien dans la peinture
Luth dans la peinture


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The R3201 was especially developed for this kind of requirement and will provide a reset cycle to the application processor that is long enough to reset it properly. It has two independent reset request inputs (RST0, RST1) to connect a single reset switch or by using two available device buttons. In order to prevent an accidental reset cycle, these switches need to be activated and held for a certain period. One is able to select from an optional 8 / 10 / 12 or 16 seconds delay time, which is internally fixed by product version. Once the reset cycle is triggered, it will provide an actual reset period of 0.4 seconds.
Both RST0 and RST1 input have an incorporated debounce circuit with a delay time of 10 msec.
The main advantage of the R3201 compared to a conventional reset timer IC is its ability to minimize current consumption of the device in the shipping mode. When a device is set into the standby mode, some components like the reset timer remain in On-mode whilst all other ICs are set to the Off mode. However, even in Off-mode there is still an amount of leakage current caused by these ICs.
The application processor is able to send a short clock pulse burst to the "Off" input pin and the R3201 will switch to the shipping mode after 15 seconds. As a result, the SRO output will control an external MOSFET disconnecting the battery line from the circuit, in this way the Off-mode leakage current is avoided and prolongs battery life significantly. The output even has a specific slew rate in order to switch the power supply smoothly. The second nSRO output is used for example to control an LDO or DC/DC Converter to the standby mode.
The shipping mode is released by activating the Power-On button for more than 2 seconds or by applying a power adapter to the device, detected by the TAIN input. This input has a breakdown voltage of 12 V but can be extended to 30 V by using a series resistor of 100 kΩ. In the shipping mode all redundant circuits are isolated from the power supply and the remaining current consumption of the R3201 is only 0.35 µA.
The R3201 has two (N-channel open drain) discharge outputs available called DCHG1 and DSCHG2. The goal is to discharge output capacitors to ground during the reset cycle ensuring that the power lines are completely de-energized.
R3201 Features:
Operating Voltage Range (Max. Rating): 2.2 V to 5.5 V (12.0 V)
Supply Current (at Standby / Shipping mode): Typ.0.35 μA
Operating Temperature Range: -40°C to 85°C
Reset Request Time: Optional 8 / 10 / 12 /16 s
Reset Request Time Accuracy: ±10%
Reset Time: Typ.0.4 s
Reset Time Accuracy: ±10%
Shipping Mode Entry Delay Time (Input pin: OFF): Typ.15 s
Shipping Mode Entry Command (Input pin: OFF): 5 pulse cycles
Shipping Mode Exit Delay Time (Input pin: RST0): Typ.2 s
Output Type (Output pin: SRO): CMOS
Output Type (Output pin: nSRO, DCHG1, DCHG2): N-Channel Open Drain
Package R3201L: (L1.4 x W1.8 x H0.4 mm) QFN014018-10
Learn More: https://www.e-devices.ricoh.co.jp/en/products/power/rt/r3201/
Who are Ricoh?
Ricoh is a global technology company specializing in office imaging equipment, production print solutions, document management systems and IT services. Headquartered in Tokyo, Ricoh Group operates in about 200 countries and regions. In the financial year ending March 2015, Ricoh Group had worldwide sales of 2,231 billion yen (approx. 18.5 billion USD).
The majority of the company's revenue comes from products, solutions and services that improve the interaction between people and information. Ricoh also produces award-winning digital cameras and specialized industrial products. It is known for the quality of its technology, the exceptional standard of its customer service and sustainability initiatives.
Want to find out more? Contact us to see how our range of Ricoh products can improve your technology solution.
February 27, 2019 Automation Industrial Ricoh
BatteryICspowerRicohVoltage
High-speed, High-Resolution Analogue-to-Digital Conversion in Harsh EnvironmentsMicrochip Release Industry's 1st End-to-End LoRa®Security Solution
Ricoh launches Power Management ICs with built-in Window or Battery Voltage Detector
Ricoh launches Voltage Regulator with High Noise Immunity
New LDO Regulator with Current Consumption & Integrated Battery Voltage Monitor
Ricoh launches a LED Driver Controller with PFC and low EMI emission

redpajama_set_name: RedPajamaCommonCrawl


Milan has become synonymous to high-street fashion all over the world and this has helped a lot in establishing it as the fashion capital worldwide. One can see hundreds of tourists wandering its streets during its peak tourism season that is the spring season here. Nature blooms to the fullest during this time of the year here and outdoors seem just too captivating to stay inside. Make most of Milan this spring season and book flights to Milan as soon as possible as you may not be able to get cheap flights to Milan at the last minute.
Malpensa Airport is an international airport of Milan city that gets Milan flights from various places including the Athens,Dublin,Moscow and Beijing.
Considered business capital of Italy, Milan is one city that offers rich dose of style, fashion and beauty. Destroyed during the Second World War, the city has now become a paradise for shopping, opera and nightlife. From visiting one of the world's grandest cathedrals in Duomo to enjoying amazing opera shows, tourists will simply fall in love with the city.
Started in 1386, Duomo is one of the biggest gothic cathedrals in the world known for its outstanding beauty and grand architecture. Decorated with white marble and thousands of statues, the cathedral offers stunning beauty. From the roof of the cathedral, tourists can enjoy the breathtaking view of the city.
Trip to Milan can't be complete without attending the famous opera shows in La Scala Theater. Opened in 1778, the theater showcases outstanding art and also possesses blissful architecture. Also take out time for La Scala Museum which is home to rare musical instruments, sculptures, paintings and much more.
Situated near Sforzesco Castle, Sempione Park is designed in neo-classical style and consists of a beautiful lake, sports amphitheater, tower and many more engaging features. It is an ideal spot for a relaxed weekend with your loved ones.
Book hotels in Milan at the lowest rates.
Great savings with our cheap car hire in Milan.


Routine school or work excuses are available upon request at the end of your appointment. If time permits, brief forms (less than 5 minutes) for school (i.e. OHI) may be completed during your allotted appointment time and there will be no additional charge. Please notify me at the beginning of the appointment if these forms are required. Longer forms and letters will be done outside of appointment time and the fee will be based on the time involved to complete this service. Please see below.


Q1 2018 | Core Capital Management & Research Inc.
This is the time of year when we hear countless numbers of so called experts speak about the future. We will hear examples from people trying to extrapolate short term social and economic trends into the coming year with the hopes you will follow their advice. These experts will be strategically placed by their publicist in prime-time locations and moments in both print and TV media. This in effort to make the audiences believe they are knowledgeable and reputable. It has been my experience most predictions are made with author knowing tomorrow why the things they predicted yesterday did not happen today. Predication may have lady luck on his or her side in the short run, the long run will reward those who are prepared for all outcomes. This preparation is centered on two primary beliefs. Analyzing a large database of historical information gathered from reputable and verifiable sources and ignoring the subjective and intuitive arguments made by those appealing to our emotional biases. Fred Schweb, a Wall Street wit, declared that difference between investment and speculation could be separated because the first aim of investment was the preservation of capital while the primary aim of speculation was the enhancement of fortune. The goal of this letter is to help the reader recognize the difference between speculation and investment.
This morning as I was walking through my local grocery store it reminded me of a quote from Benjamin Graham in his book The Intelligent Investor, "most people buy stocks like a woman purchasing perfume when they should be investing in stocks like a person shopping for groceries." Examples of this powerful insight are revealed almost daily. How often do we see a celebrity endorse a product with the hopes of consumers projecting the popularity of the celebrity to their product? The marketing companies are hoping consumers will make a popular emotional decision and not a rational one. The same holds true for brokers pitching investment ideas. Look at the style of TV commercials for different brokerage houses and mutual funds. They usually have some middle aged attractive man or woman listening intently to a client from a well adorned office while guiding them to a blissful retirement. Hoping you will project yourself into the same image. This is what is commonly referred to as perfume shopping. Successful investing is finding the best value for your dollar. Investing is comparable to finding which grocery store has the best price on eggs, meat, bread and other household items. Common everyday items which consumers have purchased for a long time and will continue to purchase in the future. Items, when purchased in the proper combination, will lead to healthy and joyful home. Sure, there will be stocks which we wished we would have bought. Bitcoins which we wished we owned. There will always be the tendency to want something which is fast, rewarding and easy. We would all like to dream about owning the big lottery ticket. These desires should always be tempered by the big picture along with the emotional stability and discipline to follow the investment principles which have stood the test of time.
Deciding on an investment strategy is as personal as each person's fingerprint. The difference is, unlike a fingerprint, a person may need to change their strategy as their life may go through either tragedy or good fortune. It has always intrigued me why something as important as a family legacy or a lifetimes worth of savings would be placed in a mutual fund designed for thousands of people. As they would be just as well served buying and index fund and reducing their cost. When choosing a strategy each person should ask if they are ready to accept the unexplainable changes in market prices. The reason the stock market has had a return of above eight percent and U.S. Treasury bills have been approximately three percent is due to these unexplained changes. This is commonly referred to as the risk premium. Deciding how much of this risk premium to take will depend on each person's emotional and financial situation. Since 1950 we have seen three market downturns of 40 percent or more, thirteen corrections of 25 percent and 83 corrections of 10 percent*. Corrections will come. Deciding what percentage of the downside risk to take is the first part of establishing your investment strategy. The second part is to ask how your investment managers style will give you the best return for market risk you are willing to take. The third part is to ask how that investment style has performed over a long time series of data. The fourth part is to have a transparent method for making sure the investment manager has the discipline to maintain the agreed upon style through different market cycles. We have had an inordinate length of time since our last correction. Corrections do provide opportunity. When stocks prices are driven to irrationally low prices due to behavioral biases value can be purchased at very cheap levels. Corrections are welcomed by the intelligent investor. Corrections allow for the intelligent investor to increase their market risk with higher margins of safety. The success lies not in predicting the correction as in the preparation for the correction.


The three state-ranked Inter-Valley Conference volleyball teams took to the floor in high school regional semifinal tournament action Thursday night.
Indian Valley and Tusky Valley will play again on Saturday. Hiland was not so fortunate.
Indian Valley, ranked 18th in Division II, defeated Sheridan 25-17, 20-25, 25-19 and 25-22 in the regional semifinal at Heath.
The Braves, who are playing at the regional level for the first time in 30 years, improved to 24-3. At 2 p.m. Saturday, they will play No. 5 Plain City Jonathan Alder (21-4) or No. 9 Columbus Bishop Ready (18-6) for a state tournament berth. Those two teams played in the late match.
Gaby Miles tallied 51 assists, five points, 10 digs, and one kill for the Braves. Tanna Rakestraw posted two points, six digs, 26 kills, and three blocks, while Kiara Rakestraw added three aces, nine points, 26 digs, 19 kills, and three blocks. Brenlyn Rostad had one ace, nine points, 23 digs, and two kills.
Sheridan ended its season at 23-4.
No. 5 Tuscarawas Valley defeated No. 7 and previously unbeaten Wheelersburg 25-19, 25-18, 25-16.
The Trojans improved to 23-2, while the Pirates ended their season at 26-1.
It was the second straight season TV downed Wheelersburg in the regionals.
The Trojans will play No. 8 Chillicothe Southeastern (23-2) in the regional final Saturday at 2 p.m. It is the fourth straight regional final appearance for the Trojans and second straight against Southeastern with a state final four bid at stake.
Wheelersburg held a 13-10 lead in the first set, but Tusky Valley reeled off five points in a row to take the lead for good in winning the set.
In the second set, the Trojans used a 4-0 run to open a 23-16 advantage en route to a victory.
Finally, Tusky Valley used a 5-0 burst and 7-3 run to open up a 19-9 lead en route to winning the match.
In the earlier semifinal, Southeastern knocked off No. 18 Hiland in a hard-fought contest. Hiland saw its fantastic season come to an end at 22-4.
Twice down 24, a point away from falling, the Panthers dug deep, and pulled out a pair of 26-24 wins, along with a 25-18 triumph en route to victory over Hiland.
An outstanding overall effort by junior middle hitter Madison Yoder was the high point of the evening for Hiland, as she pounded 23 spikes for kills, and added 14 service points, including three aces. Another junior, setter Kim Miller, doled out 30 assists and came up with 24 digs. Jasmine Hershey also had 21 digs for the Hawks, whose season ends at 23-4. Madisynn Bryk chipped in 10 kills and Mya Blochlinger added nine.
"This is a tough loss, because this group of seniors was special, talent-wise, ability, dedication, heart," Bryk said. "They put the hours in when nobody cared. They just finished short of their goal. This is a tough night.


text:
package v2

import (
	"time"

	v2 "github.com/cilium/cilium/pkg/k8s/apis/cilium.io/v2"
	scheme "github.com/cilium/cilium/pkg/k8s/client/clientset/versioned/scheme"
	v1 "k8s.io/apimachinery/pkg/apis/meta/v1"
	types "k8s.io/apimachinery/pkg/types"
	watch "k8s.io/apimachinery/pkg/watch"
	rest "k8s.io/client-go/rest"
)

// CiliumNetworkPoliciesGetter has a method to return a CiliumNetworkPolicyInterface.
// A group's client should implement this interface.
type CiliumNetworkPoliciesGetter interface {
	CiliumNetworkPolicies(namespace string) CiliumNetworkPolicyInterface
}

// CiliumNetworkPolicyInterface has methods to work with CiliumNetworkPolicy resources.
type CiliumNetworkPolicyInterface interface {
	Create(*v2.CiliumNetworkPolicy) (*v2.CiliumNetworkPolicy, error)
	Update(*v2.CiliumNetworkPolicy) (*v2.CiliumNetworkPolicy, error)
	UpdateStatus(*v2.CiliumNetworkPolicy) (*v2.CiliumNetworkPolicy, error)
	Delete(name string, options *v1.DeleteOptions) error
	DeleteCollection(options *v1.DeleteOptions, listOptions v1.ListOptions) error
	Get(name string, options v1.GetOptions) (*v2.CiliumNetworkPolicy, error)
	List(opts v1.ListOptions) (*v2.CiliumNetworkPolicyList, error)
	Watch(opts v1.ListOptions) (watch.Interface, error)
	Patch(name string, pt types.PatchType, data []byte, subresources ...string) (result *v2.CiliumNetworkPolicy, err error)
	CiliumNetworkPolicyExpansion
}

// ciliumNetworkPolicies implements CiliumNetworkPolicyInterface
type ciliumNetworkPolicies struct {
	client rest.Interface
	ns     string
}

// newCiliumNetworkPolicies returns a CiliumNetworkPolicies
func newCiliumNetworkPolicies(c *CiliumV2Client, namespace string) *ciliumNetworkPolicies {
	return &ciliumNetworkPolicies{
		client: c.RESTClient(),
		ns:     namespace,
	}
}

// Get takes name of the ciliumNetworkPolicy, and returns the corresponding ciliumNetworkPolicy object, and an error if there is any.
func (c *ciliumNetworkPolicies) Get(name string, options v1.GetOptions) (result *v2.CiliumNetworkPolicy, err error) {
	result = &v2.CiliumNetworkPolicy{}
	err = c.client.Get().
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		Name(name).
		VersionedParams(&options, scheme.ParameterCodec).
		Do().
		Into(result)
	return
}

// List takes label and field selectors, and returns the list of CiliumNetworkPolicies that match those selectors.
func (c *ciliumNetworkPolicies) List(opts v1.ListOptions) (result *v2.CiliumNetworkPolicyList, err error) {
	var timeout time.Duration
	if opts.TimeoutSeconds != nil {
		timeout = time.Duration(*opts.TimeoutSeconds) * time.Second
	}
	result = &v2.CiliumNetworkPolicyList{}
	err = c.client.Get().
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		VersionedParams(&opts, scheme.ParameterCodec).
		Timeout(timeout).
		Do().
		Into(result)
	return
}

// Watch returns a watch.Interface that watches the requested ciliumNetworkPolicies.
func (c *ciliumNetworkPolicies) Watch(opts v1.ListOptions) (watch.Interface, error) {
	var timeout time.Duration
	if opts.TimeoutSeconds != nil {
		timeout = time.Duration(*opts.TimeoutSeconds) * time.Second
	}
	opts.Watch = true
	return c.client.Get().
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		VersionedParams(&opts, scheme.ParameterCodec).
		Timeout(timeout).
		Watch()
}

// Create takes the representation of a ciliumNetworkPolicy and creates it.  Returns the server's representation of the ciliumNetworkPolicy, and an error, if there is any.
func (c *ciliumNetworkPolicies) Create(ciliumNetworkPolicy *v2.CiliumNetworkPolicy) (result *v2.CiliumNetworkPolicy, err error) {
	result = &v2.CiliumNetworkPolicy{}
	err = c.client.Post().
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		Body(ciliumNetworkPolicy).
		Do().
		Into(result)
	return
}

// Update takes the representation of a ciliumNetworkPolicy and updates it. Returns the server's representation of the ciliumNetworkPolicy, and an error, if there is any.
func (c *ciliumNetworkPolicies) Update(ciliumNetworkPolicy *v2.CiliumNetworkPolicy) (result *v2.CiliumNetworkPolicy, err error) {
	result = &v2.CiliumNetworkPolicy{}
	err = c.client.Put().
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		Name(ciliumNetworkPolicy.Name).
		Body(ciliumNetworkPolicy).
		Do().
		Into(result)
	return
}

// UpdateStatus was generated because the type contains a Status member.
// Add a +genclient:noStatus comment above the type to avoid generating UpdateStatus().

func (c *ciliumNetworkPolicies) UpdateStatus(ciliumNetworkPolicy *v2.CiliumNetworkPolicy) (result *v2.CiliumNetworkPolicy, err error) {
	result = &v2.CiliumNetworkPolicy{}
	err = c.client.Put().
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		Name(ciliumNetworkPolicy.Name).
		SubResource("status").
		Body(ciliumNetworkPolicy).
		Do().
		Into(result)
	return
}

// Delete takes name of the ciliumNetworkPolicy and deletes it. Returns an error if one occurs.
func (c *ciliumNetworkPolicies) Delete(name string, options *v1.DeleteOptions) error {
	return c.client.Delete().
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		Name(name).
		Body(options).
		Do().
		Error()
}

// DeleteCollection deletes a collection of objects.
func (c *ciliumNetworkPolicies) DeleteCollection(options *v1.DeleteOptions, listOptions v1.ListOptions) error {
	var timeout time.Duration
	if listOptions.TimeoutSeconds != nil {
		timeout = time.Duration(*listOptions.TimeoutSeconds) * time.Second
	}
	return c.client.Delete().
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		VersionedParams(&listOptions, scheme.ParameterCodec).
		Timeout(timeout).
		Body(options).
		Do().
		Error()
}

// Patch applies the patch and returns the patched ciliumNetworkPolicy.
func (c *ciliumNetworkPolicies) Patch(name string, pt types.PatchType, data []byte, subresources ...string) (result *v2.CiliumNetworkPolicy, err error) {
	result = &v2.CiliumNetworkPolicy{}
	err = c.client.Patch(pt).
		Namespace(c.ns).
		Resource("ciliumnetworkpolicies").
		SubResource(subresources...).
		Name(name).
		Body(data).
		Do().
		Into(result)
	return
}


On the 15th September 2017, a memorial monolith, manufactured and installed by John Anthony Signs was unveiled by the Rt Hon Sir Michael Fallon KCB MP Secretary of State for Defence to launch a memorial garden that was opened at the Royal British Legion Village in Aylesford.
More than 100 dignitaries, volunteers and former service personnel turned out for the unveiling of the Garden of Honour. The venue will be used for events throughout the year and will be seen as a place for reflection and companionship.


With just two days until Comic-Con International, DC Comics early this morning unveiled a poster for its Brightest Day event. Created by Ivan Reis, Joe Prado and Rod Reis, the poster -- in keeping with tradition -- is chock-full of clues and Easter eggs, from the pile of boomerangs and the broken trident to Martian Manhunter stoking a fire and Deadman engraving "RISE" on a tombstone. Plus, there's that whole Hal Jordan-White Lantern thing. And that energy ring-constructed coffin. And ... well, there's a lot to take in.
You can see a much larger version of the poster here.
DC kicks off its Comic-Con programming at 11:30 a.m. PST Thursday with a panel titled, fittingly enough, "DC Nation Convention Kickoff!"


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After several prophetic events and occurring trends in 2017 here's what to expect in 2018.
1. Disclosure and Deception. The governments of the world are finally admitting that UFO's exist and that we are not alone. What they are not telling you is that the governments have been working with other beings for years and that's where we have gotten all the new technologies that are now being revealed. The truth of the real identity of these beings is also hidden. They are not space aliens but rather the fallen ones of old. When full disclosure comes they are going to tell you that these beings are our real creators and that we should worship them instead of Jesus or God and that they are here to save humanity from itself.
2. Extreme and unpredictable weather events and patterns will increase and intensify.
3.Global unrest and war will increase.
4. The move to digital currency will continue. Paper money is going to become worthless.
12-26-17 What are the Signs of the Times?
12-25-17 The Christmas Spirit Strikes Again.
12-24-17 Dress Rehearsal or the Real Deal?
12-24-17 Grace and the Rapture.


Has Rain bitten the dust? Ratings for My Lovely Girl have not fared well in his return to the small screen after a four-year hiatus.
HAS South Korean pop icon Rain lost his charm after serving military service and admitting to his relationship with fellow actress Kim Tae-hee?
The Asian superstar, who was named by Time magazine in 2011 as the world's 100 most influential people, recently made a comeback to the K-drama scene albeit to a new low in ratings.
The series My Lovely Girl made its Sept 17 debut on the SBS Channel to much fanfare. It was a much-awaited release to the small screen after Rain's last drama The Fugitive: Plan B in 2010. With the K-pop world as the backdrop, My Lovely Girl tells the story of two individuals who are hurting and try to find healing through music.
Rain, 32, takes the lead role of Hyun-wook, a composer and producer of an entertainment company. After losing his girlfriend in an accident, he then meets and falls in love with the deceased's younger sister Se-na (starring Krystal Jung), who dreams of becoming a music producer.
Rain reportedly accepted the casting offer as soon as he saw the script.
The 16-part series ended its run on Nov 6 with a 5.6% rating, according to Chinese media reports.
Its debut episode started slightly stronger at 8.2%, gradually seeing a decrease with each episode. The average rating of My Lovely Girl was a mere 6.4%.
Rain is joining hands with Chinese A-lister Liu in his first Chinese movie For Love or Money, which has just been released in China.
On the other hand, The Fugitive: Plan B achieved an average rating of 11%, with the highest hitting 22% for an episode.
The media have been quick to pose the million-dollar question: Is one of the biggest names in the K-pop world fading away, dragged down by the mandatory two-year military service?
Rain enlisted in the military from October 2011 until July 2013, thus putting on hold all his world concert tours, endorsement deals, album releases, as well as movie and drama productions during the period.
Matters took a turn for the worst when the paparazzi exposed his love life. Early last year, it was uncovered that Rain was dating 33-year-old Kim — the star of K-drama's My Princess and Iris — when he was supposed to be away from his military base camp to carry out official duties.
It was a clear violation of rules and to quell swirling accusations that the government was meting special treatment to celebrities serving in the military, the defence ministry quickly penalised Rain with "a one-week confinement" in the camp.
Despite these setbacks, one thing for sure is that Rain is not giving up just yet.
He is currently involved in his first Chinese film project with A-lister Liu Yifei. They are to star in romance flick For Love or Money, which was released across cinemas in China on Nov 7.
It remains to be seen how Rain's efforts in breaking into the lucrative Chinese movie industry will reflect in box office.


"Look at these. Aren't they beautiful." I thought as I peeped out of the plane window. These puffy clouds were floating like carefree nomads in the sky. All I wanted to do was to jump on them…but, oops! I could have had a terrible fall. They also reminded me of cotton candies and I wanted to wrap them in a stick and have them…a warning – the taste could be highly imaginative.
Since I could not do all this I thought it would be best to take out my camera and started clicking.


Every rose has its thorn—but roses grown in a Swedish lab have transistors and electrodes too.
Researchers at Linköping University have created bionic roses by incorporating plant-compatible electronic materials into them. One of their modified roses has simple digital circuits running through its stem: another's leaf changes colour when a voltage is applied.
The scientists want to make tools for biologists to record or regulate plant physiology—the plant equivalent of medical implants such as pacemakers. Electronic components might also be a way to engineer plants instead of manipulating their DNA, adds Magnus Berggren, a materials scientist at Linköping University who led the research, published in Science Advances.
Materials scientists say that they like Berggren's creativity, but are not sure what to make of the experiments. "It seems cool, but I am not sure exactly what the implication is. But that is science and scientific curiosity, I guess," says Zhenan Bao, who works with organic electronics at Stanford University in California. Christopher Bettinger, a biomedical engineer at Carnegie Mellon University in Pittsburgh, Pennsylvania, who develops edible and biodegradable electronic materials, calls the work "cool, fun and thought-provoking".
The idea of bionic plants is not new. Last year, Michael Strano, a chemical engineer at the Massachusetts Institute of Technology in Cambridge, showed that spinach chloroplasts take up carbon nanotubes, for instance. He reported that this boosted the rate of plant photosynthesis because the nanotubes absorbed light at wavelengths that the chloroplasts do not.
But the Swedish team's work is the first time that researchers have incorporated all the components of an electronic circuit—including transistors (electronic switches)—into plants.
Berggren started by submerging the cut end of a rose stem into a solution of PEDOT, a conducting polymer that is commonly used in printable electronics and is soluble in water. Capillary action pulls the polymer up into the rose's vascular tissue or xylem. There, the polymer came out of solution and self-assembled into wires, some as long as 10 centimetres. By attaching gold probes coated with PEDOT to the wires, the researchers made individual transistors and demonstrated a simple digital circuit using the switches. The transistors' electrical performance is on a par with that of conventional printed PEDOT circuits, says Berggren.
Next, the researchers put rose leaves in a syringe full of a solution of PEDOT mixed with cellulose nanofibres. By applying a vacuum, they expelled air from the tissue, and then drew the PEDOT solution into the empty spaces left behind. When a voltage is applied, the bionic leaves subtly change colour between bluish greenish hues.
Bettinger speculates that it might be possible to manipulate a plant—triggering a growth spurt, for example—via its embedded electronic circuits.
But Strano is sceptical: filling up a rose's water-transporting stem and gas-exchanging leaves with a conducting polymer might interfere with normal plant transpiration, he says.
Berggren says that although most of the initial studies were done using plant cuttings, the group also made the leaves of living plants change colour. These plants are still alive months later, he says, and the leaves haven't fallen off. (The experiments with modified stems, however, were only conducted in plant cuttings).
The group is now collaborating with biologists to develop applications for monitoring plant physiology. Berggren is also investigating whether the PEDOT devices can be used in a system that would turn plants into living fuel cells, something that has been done with single-celled creatures but not with plants. Such a system would directly convert some of a plant's sugars into electricity. "We call it flower power," Berggren says.
This article is reproduced with permission and was first published on November 20, 2015.


text:
Jóvenes Clásicos del Son (Spanish for "young classics of Son") is a Cuban septet with double bass, tres-guitar, guitar, trumpet, congas, bongos and singer. The musical director is Ernesto Reyes Proenza.

Discography
 Fruta Bomba (Fruta Bomba on Tumi Music, 1999)
 No Pueden Parar, 2000
 Tambor en el Alma (Tambor en el Alma on Tumi Music, 2003)
 Menos jóvenes, más clásicos (Abdala Records, 2006)
 Cantan en Llano, 2012
 Pedacito De Mi Vida, 2014
 El Bar de Paco, 2016

Cuban musical groups
Son cubano groups
Musical groups established in 1994
1994 establishments in Cuba
Septets

redpajama_set_name: RedPajamaWikipedia


text:
static struct termios otio;
static unsigned argc;
static char ** argv;
static int throwval;
static jmp_buf jmpbuf;

void mysignal(int signo, void (*handler)(int))
{
        struct sigaction action;
        action.sa_handler = handler;
        sigemptyset(&action.sa_mask);
        action.sa_flags=SA_NODEFER;
        sigaction(signo, &action, 0);
}

static void errnoThrow(int error)
{
        if (error) switch (errno)
        {
        case ENOENT:
                throwval = -38;
                break;
        case ENOMEM:
                throwval = -21;
                break;
        default:
                throwval = -37;
        }
        if (!error)
                throwval = 0;
        errno = 0;
}

static void memThrow(int error)
{
// malloc() doesn't seem to set errno on Darwin. The man page says it should.
#if defined(__MACH__)
        if (error) errno = ENOMEM;
#endif
        errnoThrow(error);
}

static void ferrorThrow(int error, FILE * handle)
{
        if (error && feof(handle))
                throwval = -39;
        if (error && ferror(handle))
                throwval = -37;
        if (!error)
                throwval = 0;
        clearerr(handle);
}

static void sighandler(int sig)
{
        switch (sig)
        {
        case SIGBUS:
        case SIGSEGV:
        case SIGILL:
                throwval = -9;
                break;
        default:
                throwval = -59;
        }
        mysignal(sig, sighandler);
        longjmp(jmpbuf, throwval);
}

int Sys_Tick(struct FINA_State * state)
{
        static int set = 0;
        int throwval = 0;
        if (!set)
                throwval = setjmp(jmpbuf);
        set = !throwval;
        return FINA_InternalTick(state, throwval);
}

static void initSignals()
{
        mysignal(SIGBUS, sighandler);
        mysignal(SIGSEGV, sighandler);
        mysignal(SIGILL, sighandler);
}

static void initTerm()
{
        struct termios tio;
        unsigned ret;
        if (isatty(fileno(stdin)))
        {
                ret = tcgetattr(fileno(stdin), &otio);
                assert(ret == 0);
                tio = otio;
                tio.c_lflag &= ~(ECHO | ICANON);
                ret = tcsetattr(fileno(stdin), TCSANOW, &tio);
                assert(ret == 0);
        }
}

static void endTerm()
{
        unsigned ret;
        if (isatty(fileno(stdin)))
        {
                ret = tcsetattr(fileno(stdin), TCSANOW, &otio);
                assert(ret == 0);
        }
}

static uintptr_t end() {
        extern CELL Forth_End;
        return (uintptr_t) &Forth_End;
}

static uintptr_t start() {
        extern CELL Forth_Entry;
        return (uintptr_t) &Forth_Entry;
}

static unsigned pageshift() {
        return 12;
}

static unsigned pagesize() {
        return 1 << pageshift();
}

static uintptr_t page(uintptr_t addr) {
        return addr >> pageshift();
}

static uintptr_t tosize(uintptr_t npages) {
        return npages * pagesize();
}

static void * toaddr(uintptr_t page) {
        return (void*)(page * pagesize());
}

void Sys_Init(int argcc, char ** argvv)
{
        argc = argcc;
        argv = argvv;
        initTerm();
        initSignals();
        if (mprotect(toaddr(page(start())),
                     tosize(page(end()) - page(start()) + 1),
                     PROT_READ+PROT_WRITE+PROT_EXEC))
                perror("mprotect");
}

void Sys_End()
{
        endTerm();
}

unsigned Sys_HasChar()
{
        int ret, flags, rflags;
        flags = fcntl(fileno(stdin),F_GETFL,0);
        assert(flags != -1);
        rflags = fcntl(fileno(stdin),F_SETFL,flags|O_NDELAY);
        assert(rflags != -1);
        ret = getchar();
        ungetc(ret, stdin);
        rflags = fcntl(fileno(stdin),F_SETFL,flags);
        assert(rflags != -1);
        return ret != EOF;
}

unsigned Sys_GetChar()
{
        return getchar();
}

void Sys_PutChar(unsigned c)
{
        unsigned ret;
        ret = putchar(c);
        errnoThrow(ret != c);
        ret = fflush(stdout);
        errnoThrow(ret != 0);
}

void Sys_MemMove(char * to, const char * from, memsz bytes)
{
        memmove(to, from, bytes);
}

void Sys_MemSet(char * dst, unsigned val, memsz bytes)
{
        memset(dst, val, bytes);
}

void * Sys_FileOpen(const char * name, unsigned mode)
{
        const char *modestr[]={"r", "rb", "r+", "r+b", "w", "wb", "BAD"};
        void * handle;
        if (mode > 5)
                mode = 6;
        handle = fopen(name, modestr[mode]);
        errnoThrow(handle == 0);
        return handle;
}

int Sys_Throw()
{
        return throwval;
}

void Sys_FileClose(void * handle)
{
        FILE * fh = (FILE*)handle;
        errnoThrow(handle == 0);
        if (!throwval) errnoThrow(0 != fclose(fh));
}

memsz Sys_FileRead(void * handle, char * buf, memsz len)
{
        FILE * fh = (FILE*)handle;
        size_t res = 0;
        errnoThrow(fh == 0);
        if (!throwval) res = fread(buf, 1, len, fh);
	//        if (!throwval) ferrorThrow(res != len, fh);
        return res;
}

void Sys_FileWrite(void * handle, char * buf, memsz len)
{
        FILE * fh = (FILE*)handle;
        size_t res = 0;
        errnoThrow(fh == 0);
        if (!throwval) res = fwrite(buf, 1, len, fh);
        if (!throwval) ferrorThrow(res != len, fh);
}

void * Sys_FileMMap(void * handle)
{
        FILE * fh = (FILE*)handle;
        void * res = 0;
        errnoThrow(fh == 0);
        if (!throwval) res = mmap(0, 0x40000000, PROT_READ, MAP_SHARED,
                               fileno(fh), 0);
        if (!throwval) errnoThrow(res == (void*)-1);
        return res;
}

unsigned Sys_Argc()
{
        return argc;
}

char ** Sys_Argv()
{
        return argv;
}

foffset Sys_FileSize(void * handle)
{
        FILE * fh = (FILE*)handle;
        off_t prev = -1;
        off_t res = -1;
        errnoThrow(fh == 0);
        if (!throwval) errnoThrow(-1 == (prev = ftello(fh)));
        if (!throwval) errnoThrow(-1 == fseeko(fh, 0, SEEK_END));
        if (!throwval) errnoThrow(-1 == (res = ftello(fh)));
        if (!throwval) errnoThrow(-1 == fseeko(fh, prev, SEEK_SET));
        return res;
}

void Sys_FileSeek(void * handle, foffset pos)
{
        FILE * fh = (FILE*)handle;
        errnoThrow(fh == 0);
        if (!throwval) errnoThrow(-1 == fseeko(fh, pos, SEEK_SET));
}

foffset Sys_FileTell(void * handle)
{
        FILE * fh = (FILE*)handle;
        off_t res = -1;
        errnoThrow(fh == 0);
        if (!throwval) res = ftello(fh);
        if (!throwval) errnoThrow(-1 == res);
        return res;
}

unsigned Sys_FileLine(void * handle, char * buf, unsigned size)
{
        FILE * fh = (FILE*)handle;
        unsigned res = 0;
        errnoThrow(fh == 0);
        if (!throwval) ferrorThrow(0 == fgets(buf, size, fh), fh);
        if (!throwval) res = strlen(buf);
        if (!throwval) res -= buf[res-1] == '\n';
        return res;
}

void * Sys_Time()
{
        time_t t = time(0);
        return localtime(&t);
}

unsigned Sys_Second(void * t)
{
        return ((struct tm *)t)->tm_sec;
}

unsigned Sys_Minute(void * t)
{
        return ((struct tm *)t)->tm_min;
}

unsigned Sys_Hour(void * t)
{
        return ((struct tm *)t)->tm_hour;
}

unsigned Sys_Day(void * t)
{
        return ((struct tm *)t)->tm_mday;
}

unsigned Sys_Month(void * t)
{
        return ((struct tm *)t)->tm_mon + 1;
}

unsigned Sys_Year(void * t)
{
        return ((struct tm *)t)->tm_year + 1900;
}

void Sys_Sleep(unsigned ms)
{
        usleep(ms * 1000);
}

void Sys_FileDelete(const char * name)
{
        errnoThrow(-1 == unlink(name));
}

unsigned Sys_FileStat(const char * name)
{
        struct stat s;
        errnoThrow(stat(name, &s));
        return s.st_mode;
}

void Sys_FileRen(const char * oldname, const char * newname)
{
        errnoThrow(rename(oldname, newname));
}

void Sys_FileTrunc(void * handle, foffset size)
{
        FILE * fh = (FILE*)handle;
        errnoThrow(ftruncate(fileno((FILE*)fh), size));
}

void Sys_FileFlush(void * handle)
{
        FILE * fh = (FILE*)handle;
        errnoThrow(fflush(fh));
}

void * Sys_MemAllocate(memsz bytes)
{
        void * ret = malloc(bytes);
        memThrow(0 == ret);
        return ret;
}

void Sys_MemFree(void * p)
{
        free(p);
}

void * Sys_MemResize(void * p, memsz newsize)
{
        void * ret = realloc(p, newsize);
        memThrow(0 == ret);
        return ret;
}


A beautiful Art Deco style theater built in 1927. Very opulent with plush red carpeting, murals on the walls, ornate fixtures, grand balcony, and an elegant staircase. The theatre competed with the less grand, yet still impressive, Crest Theatre located around the corner.
According to CinemaTour's site the theatre closed in 1999 and burned down in 2001.
This theater was designed by John Paxton Perrine, according to Southwest Builder & Contractor of July 22, 1927. West Coast Theatres had arranged to lease the house, which was to seat 1400. The article also announced that the project was to include a 1200 seat airdome theatre- a suitable arrangement for the torrid summers in the desert town of El Centro.
I also want to note that Cinema Treasures currently lists the architect as John Paxton Perine (with only one "r"), but that 90% of the references to him in the California Index spell his name Perrine, with a double r. Every other website I've seen his name on also spells it Perrine, as do published works featured by Google Books.


Hollywood screenwriter Dixon Steele is suspected of murdering his girlfriend until his neighbor Laurel Gray clears him, having seen the woman leave his apartment. He and Laurel become lovers, and Dixon reveals a darker and violent side; perhaps he is not as innocent of the crime as she thought. Entered 2007 into the National Film Registry.


In order to put on a great rally, we need great volunteers! This year we have new roads and a new location outside of Ridgecrest, which means we're going to need lots of people working the stages.
Never volunteered? Let us make you part of a great control team! You'll be right in the middle of the action. Taking time cards from competitors, timing rally cars as they finish the stage, you will help the event happen!
We heart our volunteers and make sure they get fed (provided waters and lunch), get a cool event T-Shirt, and have a great time at HDT! Click here to get signed up as a volunteer for the High Desert Trails!
This entry was posted in Rally, Spectator, Volunteer. Bookmark the permalink.


text:
RESPIRATORY CONSULTATION SERVICE
NEWCASTLE PULMONARY FUNCTION LABORATORY
All Appointments - Click Here
About Newcastle Lung Group
Dr Geoff Tyler
Dr Ghulam Sarwar
Dr Alyssa Arnold
Dr Scott Twaddell
Dr Ray Mariasoosai
Dr Ken Goon
Secretarial Staff
Lab Staff
Respiratory Physician
Geoff graduated from Newcastle University in 1983 and completed his training as a General Physician with specific interest in Respiratory medicine and Pulmonary Physiology at the Royal North Shore Hospital, Royal Newcastle Hospital and Sir Charles Gairdner Hospital in Perth.
He has worked as a General and Respiratory Physician at the John Hunter and Belmont Hospitals since 1991 and in private practice as a Respiratory Physician since 1991.
He established, and has been the Director of the Newcastle Pulmonary Function Laboratory since 1994.
He currently works at the John Hunter and Belmont Hospitals as a General and Respiratory Physician and has specific interests in pulmonary physiology, general respiratory medicine, (including lung cancer and interstitial lung disease) and is an experienced bronchoscopist with skills in endobronchial ultrasound. He is appointed as an Associate Senior Clinical Lecturer in the Faculty of Health at the University of Newcastle and is involved in the training of medical students and Resident medical officers and Registrars within the Hunter New England Health service.
In association with Dr C Grainge he runs the interstitial lung disease service at the John Hunter Hospital. He has been a member of the Medical Authority for the Dust Diseases Authority of NSW since January 2014.
Respiratory Consultations
- 02 4940 8000
Suite 2/20 Smart Street
(Cnr Pacific Highway)
Charlestown NSW 2290
Free two (2) hour parking is located nearby on the Corner of Smith & Smart St (adjacent Charlestown Library) or in Charlestown Square Shopping Centre
© Newcastle Lung Group. All Rights Reserved.
Website & Support: Proweb Services


text:
Bourne Legacy
I would love to sit here and tell you all that The Bourne Legacy was just as good as any film in the original Damon trilogy, but, unfortunately, I can't. While I did enjoy it, this is one of those films in which the bad or not-so-great outweighs the good.
*mild spoilers ahead*
The plot was weak and confusing; the entire first half of the film had me wondering what was happening, who was who, and why certain decisions were being made. While this wouldn't have been a problem if all of my questions had been answered later in the film, most of them weren't. I think that the film suffered from being set within the timeline of the original trilogy; references would have been fine, but this film takes place during and immediately after the third film, making things feel forced and a bit rushed. It would have been better to see the main character as a member of a completely separate, unrelated-to-Bourne project so that the film could be viewed less as a sequel and more as a continuation with a new focus.
I also wasn't a huge fan of the whole "chemically-altered super-human" part of the story…it worked for Captain America because he is a superhero set in a different universe with different rules than ours. While this type of chemical altering may eventually become reality in our own universe, it just feels silly in the context of the film; a super-human doesn't have the same appeal as a highly-gifted and intensely-trained person in a non-superhero world.
I enjoyed Jeremy Renner as Aaron Cross, but I felt that the character's "motivation" was not adequate enough to justify the full movie. It is not the attempt on his life that motivates him (at least, it doesn't feel like it is), but, rather, his dependency on some pills distributed by the organization he works for that seems to push him into action; the entire middle portion of the film is watching Cross find a way to get his hands on some of these pills. I also had a problem with Rachel Weisz's character, Dr. Marta Shearling, a woman who seems to take no issue with the fact that Cross is capable of fighting and killing with apparent ease…there's not even a moment's flicker of doubt as she continues on her journey with this violent man. In The Bourne Identity, Marie tried to run away from Jason Bourne when she found out who he was and what he was capable of, only staying because Bourne convinces her that she needs him to survive…for at least a little while. There's a moment that is sort of like this in The Bourne Legacy, but it is subdued and less effective. She asks no questions and makes no attempts to flee.
Though the character wasn't as fleshed out as he could have been in the script, Renner as Aaron Cross worked wonderfully as the follow-up to Damon's Bourne. Renner plays the character with a resolve that almost makes you forgive the rocky motivations that Cross acts on. Edward Norton was excellent in this film. His character, Eric Byer, is in charge of cleaning up after the CIA's "Treadstone" and "Blackbriar" programs (the programs that created/tried to kill Bourne, respectfully). He's got a sharp tongue, a firm authority, and a sense of urgency that you can't help but admire. Another bright part of the movie was the action; Jeremy Renner did a great job with the physical aspect of the character as well, giving us fight scenes that, while not as inspired as the first fights in The Bourne Identity, entertain without becoming too much of a good thing…with one exception. The last twenty minutes or so of the film consists of one overly gratuitous chase sequence…it just takes way too long.
*end spoilers*
Let's face it: The Bourne Legacy had quite a – well - legacy to live up to. The original trilogy starring Matt Damon in the title role was excellent in terms of plot, character development, emotion, and action. Unfortunately, Legacy fell short in just about every regard, but just because it isn't as good as the original trilogy doesn't mean that it isn't enjoyable – because it is. The Bourne Legacy delivers plenty in the way of action and humor, and, after his brief screen time in The Avengers earlier this year and his supporting role in Mission Impossible: Ghost Protocol, it was nice to see Jeremy Renner as the main protagonist. Boosted along by a fantastic score by James Newton Howard, The Bourne Legacy may disappoint die-hard fans of the original trilogy, but it is still a fairly entertaining summer action film that will please the average moviegoer.
Rating: 2.5 (out of 4)
MPAA: PG-13 - for violence and action sequences
P.S. – Read my review of this film's score, composed by James Newton Howard, here!
Chad Hopkins
Posted by Dallas Movie Screenings at 11:13 PM
Labels: Bourne Legacy Review
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IAL-System by Fidia Farmaceutical SрA is a natural non-animal hyaluronic acid-based sterile gel solution. The producer is a world's leading medicinal hyaluronic acid producing company.
Allowed to allergic individuals due to absence of additives.
High ability to recreate the three-dimensional subcutaneous matrix (framework) where cells can move, fission actively and produce the new collagen.
Long-lasting aesthetic and rejuvenating effect: in addition to skin appearance improvement, its structure is renovated and rejuvenated, this happens due to hyaluronic acid restoration and new collagen and elastin fiber formation. As a result, the effect of the procedure is prolonged and clear.
Before the procedure, the specialist-dermatocosmetologist examines the patient's skin, collects detailed information about the health of the patient and undertaken cosmetic procedures, and finds out if the patient has any chronic diseases or allergic reactions. If there are indications to the procedure, then the specialist chooses a filler corresponding to the patient's skin type, which is designed for solution of particular problems.


text:
Q: Sar vs df -h... discrepancy between percentage of root filesystem why does sar give me 8.14% of root filesystem used and df -h gives me 9% for the same root filesystem? I was thinking df may be rounding the value, but if so it would be 8%.
localhost one # sar -F 1 1
Linux 4.4.26-gentoo (localhost)     05/15/17    _x86_64_    (8 CPU)

18:39:08     MBfsfree  MBfsused   %fsused  %ufsused     Ifree     Iused    %Iused FILESYSTEM
18:39:09       118401     10485      8.14     13.23   7853529    535079      6.38 /dev/mapper/root
18:39:09          463        25      5.14     12.48     32403       365      1.11 /dev/sda1

Summary:     MBfsfree  MBfsused   %fsused  %ufsused     Ifree     Iused    %Iused FILESYSTEM
Summary:       118401     10485      8.14     13.23   7853529    535079      6.38 /dev/mapper/root
Summary:          463        25      5.14     12.48     32403       365      1.11 /dev/sda1

localhost one # df -h
Filesystem        Size  Used Avail Use% Mounted on
udev               10M  4.0K   10M   1% /dev
/dev/mapper/root  126G   11G  110G   9% /
tmpfs             794M  492K  793M   1% /run
shm               3.9G   19M  3.9G   1% /dev/shm
cgroup_root        10M     0   10M   0% /sys/fs/cgroup
/dev/sda1         488M   26M  428M   6% /boot

A: If you divide the used space by the total space, you get 10485/(118401+10485) ≈ 0.08135, which sar rounds to 8.14%.
By default, on an ext2/ext3/ext4 filesystem, 5% of the space is reserved to root. The "Avail" value displayed by the df command does not include this reserved space in the total space (i.e. it performs the calculation based on 95% of the total space, which is all that a non-root user can use), so the calculation it makes is
10485 / ((118401+10485)*0.95) ≈ 0.08563, which is rounded to 9%.
The reserved space allows the system to keep running for a bit after it's almost full. For example, logs can still be written for a while, which can be a big help in diagnosing what filled the disk. For a partition that doesn't contain /var, the reserved space is less useful, but a filesystem that's 95% full is likely to get fragmented anyway, so it's a bad idea for performance to go much beyond that.

redpajama_set_name: RedPajamaStackExchange


text:
Kurse A-Z
Körperarbeit
Elemental Forces in Lomi Lomi
Specific Course
The universe was created with archetypal elemental forces. For thousands of years these forces have been named according to the four elements, the seven classical planets, or otherwise. For example, we may distinguish between, "affirmative", "activating" or "tenderly caring" qualities and call them e.g. Saturn, Mars or Venus.
In this course, we recognize the elemental forces through the choice of music, the rhythm and the arrangement of the lomi lomi practice. The elemental forces become part of the lomi lomi treatment.
In using these forces, we add a new dimension to the treatment, which can move the pracitioner as well as the patient deeply.
This specific course lasts 5 days and takes 40 hours.
The instruction to become a "Traditional Hawaiian Lomi Lomi Nui Bodywork Practitioner" consists of 120 hours of training. The trainees may visit three basic courses of a combination of basic and specific courses. A certificate will be given after the completion of the required training hours. Training hours for lomi lomi practice completed at other institutes will be taken into account.
40 hours Lomi basic course
Masseurs and physiotherapists practice Lomi Lomi Nui bodywork within the scope of their own profession.
In Austria, Lomi Lomi Nui was formerly allocated to the business "Freier Energetiker".
Import is beyond the formal registration the execution in one's own surgery. We want to point out that maxing out all capabilities taught in the course corresponds to the sector of the massage therapist. Within the business "Freier Energetiker" you can perform Lomi only without massage-techniques, as Lomi-Energetik-Treatment.
Ingo Wunderlich
Heilpraktiker, communication coach, psychotherapist
Dates 2022
Price* in €
LOMIF Lomi - Urkäfte
with Ingo Wunderlich Nov. 16.-20, 2022 Wed. 10 a.m. - 6.30 p.m.
Thur.-Sat. 9 a.m. - 5.30 p.m.
Sun. 9 a.m. - 4 p.m 470,-
Please use our online form to register for this training. Please contact us during our office hours at +43/3183/8468.
Trailer "Lomi - The art and wonder of touch"
... we wanted to create a work of art that reveals the message of lomi lomi as we understand it. Lomi lomi is an example of this message, which is true for all treatments that are based on physical contact ...
Additional basic course
The course Medizinische Grundlagen für Energetiker provides a reasonable supplement to the lomi-training.


Yes,this is not a resolution really, its not like I can get out without finishing it. Moreover, they will have my head if I don't complete it on time. But still,it goes on this list because its one of the things to do during holidays.
You read that right. Yes, I am working on a novel. Its a fiction-alien based one. Its not my first one either,but its the best one I've ever written(er..writing). I have a group of bored peers who I am giving my novel to read during the free classes. That's not the reason why I am urging to finish.I have a idea to put it on Word-press after I complete it. You know, part by part . Its like a serial. First chapter in a article. Second chapter in another. Like that. The thing is, I don't know whether it will sell. Well, word-press is supposed to publish articles. Nobody has published a novel in it before. Or someone might have, but it didn't sell. Articles are 'hot' here. Novels are not. That's why I am scared to publish . I don't wan't to lose the small amount of readers I got. Please give me suggestions on whether or not to publish my novel. .
Well, that's that. I have other thing as a 'resolution' in my mind. That is to get a lot of sleep. heaps of sleep. 'Cause next year I will be moving to ninth grade and would only get 2 weeks of sleep. That will NOT be enough. So that's it. Happy holidays !
and alas, it was just someone following me, ( well, its not really JUST after all, I value my readers a lot, but still ) . I was not heartbroken or anything , it is just……… well, I couldn't say, I WAS A LITTLE DISAPPOINTED. But I could totally make it into the Freshly Pressed if I tried hard enough, and I definetly WILL try hard enough. Back to the Rubik's Cube ( I screwed up everything, gotta start from scratch).
( believe me , India IS very rich ). Harivamsa Purana goes on stating that " it was the former sporting ground of king Ravitaka " and that" Dwaraka was shaped like a chess board" . Dwaraka was submerged and never got up again . Many underwater explorations and artifacts reveal that Dwaraka was indeed a magnificient city which existed when the Mahabharata war took place and was later submerged. Some believe that Dwaraka still exists , ruled by lord krishna somewhere unknown to us.


text:
Doctor Resources
NHCA Updates
Chiropractic License Renewal (FAQ)
Every other year, our inbox fills up with questions about continuing education and chiropractic license renewal. In 2020, circumstances made for a number of exceptions to prior rules, so these questions may be even more relevant. We've compiled the following answers to the most common questions. If you do not find your answer, please feel free to contact us and we'll add it to the page.
How do I renew my New Hampshire chiropractic license?
Renewal can be completed online at NH's Online Licensing. You will receive an automatic email from the licensing office on May 1st, sent to the email you supplied the office. In the online portal, you will upload PDF files of your CEU certificates, and pay online.
How much does it cost to renew a chiropractic license in New Hampshire?
License renewal costs $300. This is paid as part of the electronic renewal process by credit or debit card.
When do I need to renew my NH chiropractic license?
License renewal occurs on odd-numbered years in New Hampshire, meaning licenses are renewed on a two-year cycle. Continuing education documentation and payment should be received by the Office of Professional Licensure by June 30th. All licenses expire on July 1st.
How many continuing education credits do NH chiropractors need for license renewal?
In New Hampshire, chiropractors are required to complete 20 hours of continuing education per cycle, approved by the Board of Chiropractic Examiners via the Office of Professional Licensure.
Get started with your license renewal here.
More information about online CE in 2020-2021
How much online/remote education can be accepted for license renewal?
Prior to 2020, NH chiropractors were permitted to take up to 25% (5 hours) of their continuing education via remote education.
During the COVID-19 pandemic, the Board of Examiners and Governor's office agreed that 100% of chiropractic continuing education may be completed via approved online courses.
Governor Sununu issued an order which allowed the Board of Examiners to accept all qualifying online education completed by December 31, 2020, up to 100% of doctors' requirements. The NH Board of Chiropractic Examiners requested that the Governor extend the date for approval for online hours through the remainder of the relicensure period, and the Governor's office granted extension through the end of the state of emergency (updated March 1, 2021).
How do online hours work? Is there a quiz associated?
Most online courses do have a quiz associated to ensure that the participant did actually pay attention to the information presented. They will also often have a timer that records the amount of time spent logged into the course, this way if the participant is to receive 6 hours for a course the course moderator can verify that at least 6 hours were spent logged into the course.
What courses are accepted for credit?
Courses must be approved by the NH Board of Chiropractic Examiners via staff at the NH Office of Professional Licensure and Certification. In almost every instance, event organizers are responsible for arranging approval. PACE-approved courses are accepted. Some reliable sources of continuing education include NHCA events, DConline, LearnACA, chiropractic colleges, and first aid/basic life support courses from the Red Cross and American Heart Association.
Chiropractic Research
Find a Doc


text:
Read NationalLargest Hub for National Flowers, Animals and Birds
Read National
What is the National Bird of Australia
by Waseem Khan
Emu Bird
The national bird of Australia is Emu. Its scientific name is Dromaius novaehollandiae. It belongs to Phylum Chordata, class of Aves, an order of Casuariiformes, family of Dromaiidae and kingdom of Animalia. It is the 2nd largest bird by height and mostly found and native bird of Australia.it is the surviving member of Dromaius. It is soft fur brown color nonflying bird. It has long neck and legs its height reaches up to 1.9-inch meters (6.2 ft).
It is transportable and can travel large distances. In case of emergency, it can run at 50 km/h (31 mph). They feed on a variety of plants and insects and survives for a week without food. They often drink irregularly but take a plentiful amount of water when getting an opportunity.
Its breeding season takes place in the month of May and June. With the arrival of a mating session, the female often fights each other. Female species can mate several times and lay a numerous number of eggs in one season. Its male species does the gestation during this session he eats and drinks very hard and loses a major amount of weight. Probably hatching eggs processed in eight weeks. Young species supported by fathers. They reach in six months to their full size.it can remain as a family unit till next breeding season. The bird features are significantly in indigenous Australian tradition.
10 exciting Facts about EMU
Emu is the most popular and native bird of Australia
According to the International Union for Conservation of Nature, it is common as least concern species
The Emus can travel great distances.
It is a significant cultural icon of Australia.
It is featured on the coat of arms and different coins.
It has two sets of eyelids, one for blinking and second for protection against dust etc.
It has long feet with three toes one toe on each foot has a long nail for fighting also use his leg legs for kicking the predators when faced with danger.
The Male species snorting sound like a pig and females make a loud growling sound.
Its small wings provide it stability during running.
For stability Emu stores fat which used as a source of energy when the food is insufficient.
By food it is an omnivore (eats both plants and animals). It most favorite food is to eat caterpillars, small lizards, large insects, rodents, flowers, seed, buds and shoots.
It swallows little rocks and pebbles to facilitate grinding of food and accelerate digestion.
It also comes in the category of fast running animal. That's why it can travel 30 miles per hour. And travel thousands of miles each year
It is excellent swimmer.
The Female species lays 8 or 10eggs .The eggs color are dark green which have thick shell and weight of around one pound.
The small chicks of Australian bird is active and ready as hatching time close.
History of Emu Bird
It was first reported by Europeans as they have seen by them at the beginning of time when explorers visited the western coast of Australia in 1696.For the first time, it was observed by this Dutch captain Willem de Vlamingh during his tour or outing for the search of survivors of a ship that had gone missing two years earlier. It was known on the eastern coast before 1788. When the first Europeans settled there. The birds were first mentioned under the name of the "New Holland cassowary" in Arthur Phillip's Voyage to Botany Bay, published in 1789 with the following description
The Australia national bird was named by ornithologist John Latham in 1790 based on a specimen from the Sydney area of Australia
Why is EMU the national bird of Australia
Every country has its own unique emblems which range from anthem, uniform, tree, Flower, animal and a flag alongside this country also has a national bird to represent its gardens, trade and forest habitation. All the national bird signifies certain principles that a nation stands for. Let's know the national bird of Australia.
It is the native and popular bird of Australia. It has a large amount of good qualities .independent of frequent food and water and can survive up to weeks. Excellent protection capability against dust and predators. Australian bird represent significant cultural icon of Australia and featured on the coat of arms and different coins. Due to all these facts, Emu becomes the national bird of australia.
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text:
Q: I'm Trying to Build a Discord Bot that Sends a Message once Every Scheduled Interval import discord
import time
import random
import schedule
import asyncio

async def run_scheduled_tasks():
    while True:
        schedule.run_pending()
        await asyncio.sleep(1)

client = discord.Client()

client.loop.create_task(run_scheduled_tasks())

@client.event
async def on_ready():
  print("Bot Online")

@client.event
async def reminder():
  channel = client.get_channel(REDACTED)
  seniors = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]

  sender = random.randint(0, len(seniors) - 1)
  channel.send(seniors[sender], 'please send out the weekly email for this week')
  print("success")

schedule.every().thursday.at("11:49").do(reminder)

client.run(REDACTED)

that's my code so far it should every week send out a message with a value from the list, but all is does now is print in the console that the bot is online


Mr van Rensburg is based in Melbourne Australia and is a founding director of Margules Groome Consulting.
Mr van Rensburg is one of the founding directors of Margules Groome. He previously headed Pöyry Management Consulting's Australia operations and was also head of Pöyry's Land, Forest and Wood Products practise in Asia Pacific.
He has 24 years of international forestry experience which includes 11 years in Asia and senior management roles with two of Asia's largest forestry companies.
His project and project management experience includes a broad range of projects such as resource valuations, due diligence studies, business strategy, operations improvement, feasibility studies and market outlooks. He as a special interest in the strategic fibre demand and supply balances across the pulp, wood products and bioenergy sectors in the Asia Pacific region.
In recent times, he has had oversight responsibility for a number of Pöyry Insight reports, including the China Softwood Market: The Real Demand Drivers and Implications for Investment and Trade, the Hardwood Woodchip Market Outlook 2014 Report, the Asia Pacific Panel and Surfacing Industry – Investment Hot Spots Report and the Vietnam Hardwood Woodchip Supply Outlook Report.
He holds a Bachelors of Science (Forestry) degree and a Masters of Science in Forest Management from the University of Stellenbosch, and an Executive MBA from RMIT, Melbourne. He is a member of the Institute of Foresters of Australia and a member of the New Zealand Institute of Forestry's forest valuation working group.


Jingle tagged me and when I went to her blog to tell her I don't do tags, I kind of liked the game. It is easy and informative yet probably won't tell you a single thing you didn't already know. All I have to do is name 10 things I love!
I won't be tagging anybody for this meme. That just isn't my style. If you want to play along feel free. This is called the "I Love Your Blog" meme and there is a badge that goes along with it, which you will have to pick up from Jingle because I don't "do" awards and badges.
Thanks Jingle. This was fun!
Nessa – -we have Mountain Huckleberry Ice Cream from Tillamook in the fridge right now and it combines two of the best things about this part of the world — the special strain of yummy Huckleberries that only grow in Washington and Idaho, and Tillamook dairy products.
I ate ice cream with lunch.
Karen, I have little tiny quarter cup glass bowls. Amoeba and I each have that much ice cream most every evening.
Jingle — I read your blog whenever you comment here, I just don't do all those awards and memes you enjoy so much.
I concur with your list, but with a slight modification to #2. No offense to Amoeba mind you.
Jeff — to tell you the truth, I am certain Amoeba would be highly relieved.
Ice cream! Definitely ice cream! Make that chocolate ice cream!
Kay — I am up for almost any kind although mint isn't one of my faves.
Linda — not incompatible, but seldom seen together just the same.
sunshine and ice cream- perfect combination!!!


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text:
FEMINIST APPROACHES TO YOUTH SEXUALITIES
The Women, Risk and AIDS Project (WRAP) Collection
Browse WRAP
Reanimating Data Project Collection
Browse RAD
Feminist Archiving?
Browse Feminist Objects
Feminism in the 1980s
Interview with Katherine, 23, White British, middle class, Protestant. Women, Risk and AIDS Project, Manchester, 1989. Anonymised version including fieldnotes (Ref: MAG07)
Anonymised interview transcript with 23 year old young woman (Katherine) working and studying in Manchester, interviewed as part of WRAP (Women, Risk and Aids Project, 1989-90).
Interview covers her decision to do a PhD and get married as well as her future plans to work before having children possibly as an R.E. teacher. She shares her views on teaching about sexuality and relationships within an R.E. lessons stating that it is important not to be dogmatic and to emphasise a sense of discovery and the importance of equality in relationships. Discusses her experiences of sex education at a single sex Church boarding school which included early talks on the biological aspects and later talks on the moral aspects. Talks on contraception were provided too late and it was hard to get contraception at boarding school. At home her mother gave her a book to read and had some discussions with her. Shares an experience of meeting a man aged 16 who said 'right, I'm going to have sex with you' and how this changed her own behaviour. Also discusses her contraceptive decision making and having relationships without sexual intercourse as well as hearing about AIDS, her initial reactions and thoughts on the 'negative' campaign. She reflects that her knowledge of AIDS does not impact on her sexual behaviour and decision making and discusses her knowledge of the difference between HIV and AIDS.
MAG07/O
White British
Post-graduates
Faith schools
AIDS disease
AIDS testing
Contraceptive cap
Family Planning Clinic
Boarding schools.
Women, Risk and Aids Project (WRAP, 1989-90)
The Reanimating Data Project (2018-20)
Greater Manchester, UK
Women, Risk and ADIS Project, Manchester and London, 1989-1990