text:
/roh zay"/, n.
a pink table wine in which the pale color is produced by removing the grape skins from the must before fermentation is completed.
[1425-75; < F: lit., pink]
Any of about 100 species in the genus Rosa (family Rosaceae) characterized by their beautiful, fragrant flowers.
Rosa species are probably the most widely recognized and universally favoured of ornamental flowering plants. Hundreds of varieties are cultivated in all types of settings, and there are many hybrids. Roses are susceptible to numerous diseases, most caused by fungi. The rose family contains about 3,000 species and accounts for 45% of the species in the rose order (Rosales). Other popular garden plants and ornamentals in the rose family include spirea, cinquefoil, hawthorn, mountain ash, and flowering cherry. The family also contains many important fruits, including the apple, peach, strawberry, pear, plum, apricot, almond, quince, blackberry, and raspberry. Plants of some species contain dangerous cyanide compounds. Many members have thorns or prickles.
Prairie rose (Rosa setigera).
John H. Gerard
Marie Josèphe Rose Tascher de la Pagerie
Lee Gypsy Rose
Rose Louise Hovick
Roman de la Rose
Romance of the Rose
Rose of Lima Saint
Rose Fred
Rose Peter Edward
Tokyo Rose
Pasadena Tournament of Roses
Roses Wars of the
▪ plant
any perennial shrub or vine of the genus Rosa, within the family Rosaceae, an almost universally distributed group of some 100 species. The great majority are native to Asia. Many are cultivated for their beautiful, fragrant flowers. These are commonly white, yellow, orange, pink, or red and, in wild roses, are borne singly or in small clusters. The flowers of wild roses usually have five petals, while the flowers of cultivated roses are often double (i.e., with multiple sets of petals).
Roses are erect, climbing, or trailing shrubs whose stems are usually copiously armed with prickles of various shapes and sizes that are called thorns. The plant's leaves are alternate and pinnately compound (i.e., feather-formed). The rather oval leaflets are sharply toothed. The rose plant's fleshy, sometimes edible, berrylike "fruit" (actually the floral cup) is known as a hip.
Roses are native primarily to the temperate regions of the Northern Hemisphere. Most rose species are native to Asia, with smaller numbers being native to North America and a few to Europe and northwest Africa. Roses from different regions of the world hybridize readily, giving rise to types that overlap the parental forms, and making it difficult to determine basic species. Of the more than 100 species of roses, fewer than 10 species (most native to Asia) were involved in the crossbreeding that ultimately produced today's many types of garden roses.
There are several major classes of garden roses. The best-known and most popular class of rose are the hybrid tea roses, which account for the majority of roses grown in greenhouses and gardens and sold in florist shops. Hybrid teas come in the complete range of rose colours and have large, symmetrical blossoms. Hybrid teas resulted from the crossbreeding of frequently blooming but fragile tea roses with vigorous hybrid perpetual roses. The hybrid perpetuals achieved great popularity until they were supplanted by the hybrid teas in the early 20th century. Polyantha roses are a class of very hardy roses that produce dense bunches of tiny blossoms. Floribunda roses are hardy hybrids that resulted from crossing hybrid teas with polyanthas. Grandiflora roses are relatively new hybrids resulting from the crossbreeding of hybrid teas and floribunda roses. Grandifloras produce full-blossomed flowers growing on tall, hardy bushes. Among the other classes of modern roses are climbing roses, whose slender stems can be trained to ascend trellises; shrub roses, which develop into large bushes; and miniature roses, which are pygmy-sized plants bearing tiny blossoms. Altogether there are approximately 13,000 identifiable varieties of roses in these and other classes.
No other flower is so universally known and admired as that of the rose. Its blossoms range in colour from white through various tones of yellow and pink to dark crimson and maroon. Many varieties have been bred with beautiful blends of colour. Rose flowers' size ranges from tiny miniatures 1.25 cm (0.5 inch) in diameter to flowers measuring more than 17.5 cm (7 inches) across. Roses have a delightful fragrance, which varies according to the variety and to climatic conditions.
Roses can become infected by a number of diseases, most of them caused by fungi. Powdery mildew appears as a grayish white moldlike growth on the surface of young leaves and stems. Black spot fungus appears as conspicuous black spots on leaves and causes them to fall off. Rust is also a common disease of roses.
Attar of rose (attar of roses), used in perfumes, is obtained from the rose blossoms, especially those of the damask rose (R. damascena). Rose hips, particularly those of R. rugosa, are a source of vitamin C and are sometimes used in preserves.
rose acacia
rose — rose … Dictionnaire des rimes
rosé — rosé … Dictionnaire des rimes
rosé — rosé … Deutsch Wörterbuch
rose — 1. (rô z ) s. f. 1° Fleur odoriférante, ordinairement d un rouge un peu pâle, et qui croît sur un arbuste épineux. Rose simple ou rose sauvage. Rose du Bengale. Rose des quatre saisons ou de Damas. • Mais elle était du monde où les plus… … Dictionnaire de la Langue Française d'Émile Littré
Rose — Rose, n. [AS. rose, L. rosa, probably akin to Gr. ?, Armor. vard, OPer. vareda; and perhaps to E. wort: cf. F. rose, from the Latin. Cf. {Copperas}, {Rhododendron}.] 1. A flower and shrub of any species of the genus {Rosa}, of which there are… … The Collaborative International Dictionary of English
rose — ROSE. s. f. Sorte de fleur odoriferante, qui est ordinairement d un beau rouge un peu pasle, & qui croist sur un arbrisseau plein de petites espines. Rose simple, ou rose d eglantier. rose double. rose à cent feuilles. rose de Hollande. rose… … Dictionnaire de l'Académie française
Rose d'or — de Minucchio da Siena (1330), Musée national du Moyen Âge La Rose d or est un ornement béni par le pape, destiné à honorer des souverains ou des sanctuaires catholiques. Comme son nom l indique, il représente une rose, un bouquet de roses ou un… … Wikipédia en Français
Rose — Saltar a navegación, búsqueda El nombre de Rose puede referirse a lo siguiente: Rose: primer sencillo de Anna Tsuchiya. Rose: personaje del manga y anime, Bleach. Botánicos y sus abreviaturas científicas A.Rose August David Friedrich Carl Rose… … Wikipedia Español
ROSE (J.) — Jean ROSE 1915 1992 Lorsque Jean Rose prend, en 1965, la direction du palais de la Découverte, l'institution ne lui est pas étrangère. Docteur ès sciences, ancien directeur du laboratoire de cristallographie appliquée du Centre national de la… … Encyclopédie Universelle
ROSE — (Heb. וֶרֶד, vered, mishnaic), the genus Rosa. Two species grow wild in Israel, the white rose, Rosa phoenicea, which grows on the banks of rivers, in swamps and woods, and the vered ha kelev – Rosa canina–which has pink and sometimes white… … Encyclopedia of Judaism
rose — (n.) O.E. rose, from L. rosa (Cf. It., Sp. rosa, Fr. rose; also source of Du. roos, Ger. Rose, Swed. ros, etc.), probably via Italian and Greek dialects from Gk. rhodon rose (Aeolic wrodon), ultimately from Pers. *vrda . But Cf. Tucker: The rose… … Etymology dictionary


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text:
Quirky new gift shop to open on Suffolk coast
Andrew Papworth
Little Pretty is opening in Southwold. Picture: REBECCA RIX-MEO - Credit: Archant
A quirky new gift shop opening in Southwold has set its sights on showcasing the best of Suffolk's artistic talent - while also proving more unusual stores can thrive in the online shopping era.
Little Pretty gift shop is due to open in Southwold. Picture: REBECCA RIX-MEO - Credit: Archant
Rebecca Rix-Meo decided to fulfil a life-long dream to open her own store after running a cottage rental firm in the coastal resort for 18 years.
With many friends in the town's business community, she did not want to tread on any toes - so set out to create a shop completely different from anything else in the area.
The result is Little Pretty, selling high-quality gifts and accessories made by creative and artistic types in Suffolk.
Mrs Rix-Meo, who has appointed one member of staff to help her run the store, said it has taken "guts and lot of hard work" to go through with the idea.
But she is confident of success, because she believes she is "trying to offer unique pieces that aren't available elsewhere".
The Trinity Street store, which opens on Saturday, May 18, includes a selection of silver pendants, cosmetics, homewares, decorations and even a men's section.
"Half the stuff in the shop has been made by local people," she said.
"I have cherry-picked all the best bits that people are making.
"People are making amazing things and I'm trying to showcase some of the best that are available.
"Being able to talk to brilliant, creative people and cherry-pick bits of artwork really reflects my arty background.
"It's something I've always wanted to do."
However while many shops face a challenge to survive as online shopping continues to grow, Mrs Rix-Meo believes: "People who are in a position to set up independent stores are in a better position now, because of the fact not everyone wants to shop online.
"Lots of people want to have that shopping experience.
"They want to go into town, have a bit of lunch and see the products. People still want that."
The closure of many big name retailers has also forced many shoppers to re-evaluate what they like, she said.
"They look for unique things," Mrs Rix-Meo said. "There is definitely a market for that.
"It does take guts and a lot of hard work to do it, but I think the current climate may improve my chances."

redpajama_set_name: RedPajamaCommonCrawl


The Kansas City-based rock band Making Movies has been being advocates of DACA and for the past two tours have sought to create "a safe space for their community to come together and celebrate their political idea that we are all immigrants." It even invites DACA recipients to attend its shows for free and to share their stories.
When the band appears on Friday at the Beachland Tavern, it'll donate ticket profits to Raices, Texas, a nonprofit agency that promotes justice by providing free and low-cost legal services to underserved immigrant children, families and refugees in Texas."
Currently, the band is working on an EP with Las Cafeteras and Mariachi Flor De Toloache. The EP was inspired by their Carnaval tour that they just finished with Las Cafeteras, Mariachi Flor De Toloache and Alex Cuba.
The concert starts at 7:30 p.m., and Aku Aku opens. Tickets are $10.


The average work year has shrunk by. But rising educational attainment has come at a steep price. This quality is highlighted by sources from the period studied: they cannot be taken at face value. They seek to demonstrate that the subject studied is, in the form the historian has defined it, relevant to those thought to be interested in it, and to induce them to reflect on that connection. Federal employees are responsible for making and keeping records of their work. There is nothing wrong with work, when work must be done.
A third section provides specific information on the changing technology and legal position of corporate archives focusing on legal requirements, electronic records, etc. If you are based in Canada, you should keep an eye out for public job postings by Know History. As the great business scholar Alfred D. The rich have always worked less than the poor, because they could afford to. I am devoted to my job.
Scholarly accounts play a significant role in this reciprocal production: that is, historians participate in the process and have no chance of situating themselves outside it. This section of the book offers and defends the classic empirical, inferential and representationalist model of historical research. I feel most myself when I am fulfilled by my work—including the work of writing an essay about work. Understanding the company history is important. Seek historical perspective before every major decision, whether it involves a new strategy, a major acquisition or investment, or a new marketing campaign or communications initiative. They are produced in every field of society and by a wide variety of actors, from private persons to, for example, politicians and various media. After acknowledging that historians must reflect on their profession as a cultural institution, he goes on to say that they must also evaluate it as a discipline p.
Historical consultants find themselves wherever a re-examination of the past is required. Therefore, they must be managed properly for the agency to function effectively and to comply with Federal laws and regulations. It requires the habits of mind that the discipline of history has to offer. The modern labor force evolved to serve the needs of consumers and capitalists, not to satisfy tens of millions of people seeking transcendence at the office. But he was simultaneously restoring a customer orientation that had weakened over the years.
Any effort to understand or leverage your company history is only as good as the raw materials—documents, images, and artifacts—you have at your disposal. They participate as team members and lead self-directed projects. As the author notes, the dominant objectivist or orthodox section of historians take no account of the present, and that this view was rejected by the postmodern radicals. The American dream—that hoary mythology that hard work always guarantees upward mobility—has for more than a century made the U. As the study of change over time, history also impels us to think about the long term—another strength of the best leaders, whose well-developed, long-range perspective on the companies they manage may be the only antidote to the pressures of quarterly earnings reporting and the need to react to one crisis real or perceived after another. The notion of such an access to the reality of the past is defended as well as it could be in this book. So, what is the point of this book? What we choose to buy with it is the ultimate project of living.
Historical consultants also play an important role in influencing public policy, public safety, and the cleanup of environmental contamination. Consider how Kraft Foods managed its 2010 integration of the British confectioner Cadbury. Both valued their employees at a time when workers were often seen as a commodity, and both believed in giving back to their communities. One thing was constant: the focus on customer needs and customer service. In 1985, the Soviet past was again summoned for polemical revision as part and parcel of an attitude of openness glasnost' and in this, literary figures joined their energies to those of historians.
But in the process the company had become wed mainly to the hardware sector, which by the 1990s was mature and commoditized. Or you may find there is a good reason to leave it where it is. The leaders of another company, a giant in the energy sector, could not imagine making the biggest strategic investment decision on their agenda without the benefit of historical perspective. Should archivists they could do no better than to pick up CorporateArchivesand History: Makingthe Past Work,a richand readable volume about lifein corporatecollections. Writing History in the Soviet Union: Making the Past Work is aimed at understanding this environment. By 2005, the richest 10 percent of married men had the longest average workweek.
History can also be used to put adversity in context. Looking Back to Plan Forward Conventional problem solving begins with two questions: What is the problem? Over time, managers in the aluminum smelting division had attained top corporate positions more often than those in newer, more-profitable downstream operations, such as sheet for aluminum cans or plate for aircraft construction. This is why they should aim at gaining an awareness of their work that is as accurate as possible, and this presupposes clarifying their relation to the ongoing social process of history-making. The history of the Soviet Union has been charted in several studies over the decades. The point was to teach a company accustomed to the routines of industrial engineering that it had been innovative all along—and that the two were not incompatible.
And the author completes his thoughts with a further Tosh quote, to the effect that these developments were a diversion from the real job of reconstructing and interpreting the past. Records enable and support an agency's work to fulfill its mission. Indeed, Kalela acknowledges that the historian is an intermediary between the past and present, and one who can only operate from a point of view. But the meaning of all this furore is that historians do not work in a social vacuum which permits no involvement in the present. The meanings embedded in prevailing explanations and the functions the interpretations criticised perform are quite often far from obvious.


text:
Consumer groups, lenders spar over new redress rule
By Steve Sinovic / Journal Staff Writer
Published: Thursday, May 5th, 2016 at 11:44pm
Updated: Friday, May 6th, 2016 at 11:11pm
Richard Cordray, fourth from left, in Albuquerque on Thursday, said the Consumer Financial Protection Bureau wants to give consumers the option to take credit card and loan complaints to court. (Dean Hanson/Albuquerque Journal)
ALBUQUERQUE, N.M. — Consumers may soon be able to get their day in court to settle disputes with lenders and credit card companies.
The Consumer Financial Protection Bureau issued a proposed rule Thursday that would allow more people to take their credit card and loan complaints to court, rather than being forced to argue their cases in front of closed arbitration panels.
But finance industry representatives sharply criticized the new rule, which would give consumers an option for redress besides the arbitration clauses commonly found in banks' fine print. They said that would lead to frivolous lawsuits and warned the bureau should expect a legal challenge.
The bureau hosted a field hearing Thursday in Albuquerque, where regulators outlined the rule, and then heard spirited debate among speakers and panelists at the Albuquerque Convention Center.
New Mexico Attorney General Hector Balderas and representatives of consumer groups, both statewide and national, said people should be able to join class actions if they feel they've been harmed.
"Signing up for a credit card or opening a bank account can often mean signing away your right to take the company to court if things go wrong," bureau Director Richard Cordray said. "Many banks and financial companies avoid accountability by putting arbitration clauses in their contracts that block groups of their customers from suing them."
"There's only one winner coming out of this rule: the plaintiff's class action bar," countered Alan Kaplinsky, head of the consumer finance practice at the law firm Ballard Spahr. "It's not good for the industry, for banks or for nonbanks. And consumers are going to be net losers."
Millions of contracts include provisions that bar consumers from bringing group suits and companies have used the clauses to keep fights out of court almost two-thirds of the time, the CFPB found in a study released last year. Very few consumers bring, or even consider, individual actions against their financial service provider in court or in arbitration, the study showed.
The regulator's proposal would cover new agreements for products such as credit cards, auto loans, credit reports and even mobile phone services that provide third-party billing.
There will be a public comment period for 90 days before the CFPB can issue a final rule.
The soonest it could take effect is mid-2017 and companies would then have 210 days to comply with the requirements.
Companies could still include arbitration clauses in contracts, but they would have to state that those cannot be used to stop individual consumers from joining a class-action case. Companies that do have arbitration clauses will be required to submit some related information to the CFPB, the bureau said.
Some players, such as credit unions, which are member owned, may be looking for exemptions.
"Credit unions don't need to be tarred with this brush," said Kevin Hammar, a representative of the Nevada Credit Union League. "Many credit unions are justifiably leery of a loss of members' money to fund legal defense funds."
Hammar was on the panel with Paul Bland of Public Justice; Deepak Gupta of Gupta Wessler PLLC; Christine Hines of the National Association of Consumer Advocates; Kaplinsky of Ballard Spahr LLC; and Travis Norton of the U.S. Chamber of Commerce.
Lawsuits challenging the rule are probable, said Kaplinsky.
Financial services companies and groups including the U.S. Chamber of Commerce have argued arbitration is a valuable tool to help avoid frivolous, expensive lawsuits that often don't do much to benefit borrowers.
The finance industry argues that curbing arbitration will result in higher legal costs that banks will ultimately pass on to consumers in the form of higher fees and reduced services, said Norton.
All the major financial industry lobby groups announced their opposition to the CFPB proposal in prepared statements on Thursday.
& ABQJournal News Staff SUBSCRIBE NOW cancel anytime


Dear Tropicalistas! We at Tropical Diaspora Records are always on the road discovering new people doing music. If you are also on the road, we prepared. What you are searching for may be around the corner! In our case it happened again. We just bumped into Los Made in Barcelona playing in the streets. It is out this year and we are more than happy! Viva la calle! Viva as Ruas!
This musical band as its name says it could not have been born in an other place than in the streets of Barcelona. From the love and creativity to music, share by a group of musicians of different nationalities from Catalonia, Uruguay, France, Spain, Mexico and Peru, The Made in Barcelona musically agreed and decided to unite and share their music and their histrionic skills to create a explosive and original musical show.
With a taste of Cuban son, Cumbia and Reggae, The made in Barcelona shake their shakers creating a fun and refreshing atmosphere, of which the public is involved with their songs and dancing rhythms.
They have been playing in many festivals and events all over Europa and India, in February last year at the SULA FEST. Recently they have also been in TOMORROWLAND 2017 (Belgium) and the Festival Internazionale de Narrazione Arzo 2017 (Switzerland), UrriganFest 2018 (Islas San Blas, Panamá) and Festibaloche 2018 (France).
en especial a nuestro maestro Reynaldo Elosegui El Yako, Jorge Armando Sánchez de Laniusfilms, Eduardo Tancredi, El Chamaco de la Poma, Professor Angel Dust, Pablo Moreno, Denis Vejas, Matias Chiofalo y sobretodo a todos/as aquellos/as que luchan por darle vida a la calle.


Hello The ApD team, because I appeal to the MX clan, I am transferring the ApD clan to my close friend and also to Stache, the ApD leader. Thank you for everything until today, we have reached 15/15. I love you!
You don't have to give your clan to your friend, if you apply for MX we're not going to guarantee you that you'll get in or even get an answer.


The example below shows how to encode an instance of a simple GroceryProduct type from a JSON object. The type adopts Codable so that it's encodable as JSON using a JSONEncoder instance.
Creates a new, reusable JSON encoder with the default formatting settings and encoding strategies.
Returns a JSON-encoded representation of the value you supply.
A value that determines the readability, size, and element order of the encoded JSON object.
The output formatting options that determine the readability, size, and element order of an encoded JSON object.
A value that determines how a type's coding keys are encoded as JSON keys.
The values that determine how a type's coding keys are encoded as JSON keys.
A dictionary you use to customize the encoding process by providing contextual information.
The strategy used when encoding dates as part of a JSON object.
The formatting strategies available for formatting dates when encoding a date as JSON.
The strategy that an encoder uses to encode raw data.
The strategies for encoding raw data.
The strategy used by an encoder when it encounters exceptional floating-point values.
The strategies for encoding nonconforming floating-point numbers, also known as IEEE 754 exceptional values.


text:
Circus of Caracalla (from Twelve Original Views in Italy)
You searched for: "Booth Notes Doc. 7" Is linked to these Works of Art
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Yale Center for British Art, Paul Mellon Collection
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Edward Rooker (c.1712-1774) after Wilson
Sheet: 248 x 343 mm; plate: 184 x 257 mm
Sheet: 9 3/4 x 13 1/2 in.; plate: 7 1/4 x 10 1/8 in.
Yale Center for British Art, Paul Mellon Collection, New Haven. To license images click here
B1977.14.21011(b)
View of an arena, framed by a massive stone arch, from which hang creepers. In the left foreground are two figures, one seated with a staff over his shoulder, and a dog. To the right of this group is a boulder and there is another at the right base of the arch. Beyond the arena are several buildings and trees.
Signature/inscription
Lettered below image: [1] Upper left: 'R. Wilson del', [2] Upper right: 'E. Rooker sc' [3] Centre: CIRCUS of CARACALLA
Lettered below image:
[1] Upper left: 'R. Wilson del',
[2] Upper right: 'E. Rooker sc'
[3] Centre: CIRCUS of CARACALLA
Collectors' marks
Verso inscriptions
Mount inscriptions
The view is towards the west on what is currently the edge of the Via Appia Pignatelli. To the left in the middle distance, stands the round tower of the mausoleum of Caecilia Metella - one of the most imposing classical remains on the Via Appia Antica. Martin Postle has noted that in actuality it is visible only when one stands before the arch.
Related Drawings
D273 The Circus of Caracalla, Tate, London (T09296) D273A The Circus of Caracalla, Ashmolean Museum, University of Oxford
D273 The Circus of Caracalla, Tate, London (T09296)
D273A The Circus of Caracalla, Ashmolean Museum, University of Oxford
Related Prints
See 'Links' tab. Another impression is in the Witt Print Collection, Courtauld Institute, London
See 'Links' tab.
Another impression is in the Witt Print Collection, Courtauld Institute, London
Related Paintings
Related Works by Other Artists
Critical commentary
Twelve Original Views in Italy was published by John Boydell as a compilation of etchings by different printmakers, produced over a number of years, after Wilson's drawings or paintings. The present print was based on the prime version of the related drawing, D273 (Tate, London). Acquired by William Lock probably while he and Wilson were still in Italy, that drawing is very close to Rooker's etching, e.g. in the lively attitude of the small dog in the left foreground.
Twelve Original Views in Italy was published by John Boydell as a compilation of etchings by different printmakers, produced over a number of years, after Wilson's drawings or paintings. The present print was based on the prime version of the related drawing, D273 (Tate, London). Acquired by William Lock probably while he and Wilson were still in Italy, that drawing is very close to Rooker's etching, e.g. in the lively attitude of the small dog in the left foreground.
Previous Cat/Ref Nos
Object ID: 49690
Booth Notes Doc. 7; Edwards 1808, p. 88
Link to WG Constable Archive Record
Location featured in work
As Rooker died in November 1774, the plate for this print must have been etched some years before the publication of Twelve Original Views in 1776.
As Rooker died in November 1774, the plate for this print must have been etched some years before the publication of Twelve Original Views in 1776.
Condition/Conservation
Bound with eleven other 'original views' in an old leather binding with 'Views of Rome' imprinted on the spine but lacking a title page. Spine of the binding: 254 mm (10 in.)
Illustrations of the Work
Richard Wilson (1713/14-1782), Circus of Caracalla, Tate, London
Richard Wilson (1713/14-1782), The Circus of Caracalla, Ashmolean Museum, University of Oxford
Edward Rooker (c.1712-1774) after Wilson, Circus of Caracalla (from Twelve Original Views in Italy), The British Museum
Edward Rooker (c.1712-1774) after Wilson, Circus of Caracalla (from Twelve Original Views in Italy), Royal Academy of Arts, London
Edward Rooker, 1724-1774
Paul Mellon, 1907-1999
Edward Edwards, Anecdotes of Painters who have resided or been born in England; with critical Remarks on their Productions
Benjamin Booth, Unpublished Notes Document 6: List of Engravers after Wilson and Biographical Notes
Benjamin Booth, Unpublished Notes Document 7: List of Prints after Wilson's Paintings
This print is part of the "Twelve Etchings of Views in Italy Yale Center for British Art" sketchbook
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May 15, 2018 - CRG announced the sale of its 1 million square foot build-to-suit facility in Savannah, Georgia for Shaw Industries Group, Inc., a Berkshire Hathaway Company to Griffin Capital Company, LLC for $57 million.
A 324-acre site in Spartanburg County, South Carolina. Building 1 is a 500,000-square foot speculative warehouse building.
A 1,000,993-square foot speculative building available for lease in the I-75 corridor of Atlanta, Georgia.
A 560-acre industrial mega site with 8.5 million square feet of potential warehouse space located in the southwest I-85 corridor of Atlanta, Georgia. Currently, another 1,002,150-square foot building is now under construction.
E-commerce is driving business at CRG, along with an evolution in the technology and quality of buildings. As the industry begins to measure cubic feet and maximize racking space, CRG's "The Cubes" industrial brand is part of its leadership effort to meet this tremendous demand in the speculative warehouse market. In addition to The Cubes, CRG plans to build a minimum of 10,000,000 square feet on an annual basis worth about $650 million of its Class A industrial product per year.


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In 1977 the movie Star Wars: Episode IV - A New Hope started what has become arguably the most popular science-fiction franchise ever created. George Lucas' tale of Luke Skywalker's adventures discovering the truth about his past while battling the forces of the Empire and the sinister Darth Vader re-popularised science-fiction cinema and effectively created the movie merchandising industry as we recognise it today. Seven films later and under the Disney banner, the popularity of Star Wars remains an unstoppable force and is one of the cornerstones of contemporary fan culture. The release of Episode VII: The Force Awakens at the end of 2015 heralded the birth of a new chapter in Star Wars interest which shows no signs of slowing.


Aimed at bringing compelling Indian tales with universal relevance to an increasingly interested global audience, Sony Entertainment Television (SET) launches its sub brand 'SET Originals' with 'Prithvi Vallabh' being the first production to premier under this brand. With SET Originals, the channel will collaborate with new creative storytellers to offer premium, fresh and finite content with superior production values and narratives that have a global appeal. The show will mark the debut of Anirudh Pathak of Writers' Galaxy as a Producer and will enrapture viewers by its breathtaking visuals, canvas, and scale of production. A finite series, Prithvi Vallabh narrates a tale of two archrival warriors; Prithvi and Mrinal. Prithvi, the heir of the Malwa dynasty, is an advocator of the 'philosophy of humanism', while Mrinal, the princess warrior of Manyakhet, is 'born out of pure vengeance'. It is a unique story that starts with hatred on a battlefield and ends up becoming a grand love story. The show will take us to an era where various Indian states were at constant war for territorial expansion. In this era of continual struggle, Prithvi Vallabh's philosophy of 'live and let live' forms the crux of the show, which is relevant even today. It has both, a sense of history and a mystery of those times. The show's stellar star cast includes Ashish Sharma as Prithvi, Sonarika Bhadoria as Mrinal, Pawan Chopra as Singhdant, Shalini Kapoor as Rajmata, Alefia Kapadia as Savita, Jitin Gulati as Tailap, Piyali Munshi as Jakkala, Surendra Pal as Vinayaditya, amongst others.


The tangibility of paint and a certain loose-handedness with the brush are the prominent traits found in the work of Farrell Brickhouse. There's the sense that each painting is strived for, worked out …hard won. But not only is he contending with paint in the painterly tradition, Brickhouse is also dealing with the enchanting qualities that his pieces exude; it's as if he's imbuing his subjects with lightness and grace. It's that aspect of his work that has me hooked, not just how the paint appears. In trying to pin down the specific quality that I've felt, I want to use the word "charming," but another part of me says that I should embrace terms like: captivating, beguiling and mesmerizing when trying to assess the thoughts and feelings that his works induce.
PB: What I like about your work is the paint handling, coupled with a color usage that's wide open—the same things I appreciate in the work of Soutine and Avery. Can you tell me a bit about your influences?
FB: I greatly appreciate the effort you've put in to become familiar with my work and I think you've made perceptive observations of what is important to me, especially about achieving grace in my painting. A fellow artist used the term "tertiary palette" in describing recent work of mine. I liked that. Influences are many as they are for most of us. First, I remember as a child, going to the Museum of Natural History in NYC and seeing those dioramas, these worlds cast in a dark corridor—each one opening on something "mesmerizing," to quote you. I've sought that in my work, each painting is to be this illuminated world/object. Soutine did that with this gritty light and those jewel-like moments that come out of paint being pushed into paint. There was that great group show awhile back at Cheim & Read of Soutine and His Influences. Georges Rouault's Christ Before Pilate - 7.25 x 5.2 inches is just sublime. At Queens College, Charles Cajori was a wonderful instructor to me.
As a young man, my friend Ralph Hilton and I were roped together, sort of to say, working on each other's paintings and sharing what it was to live the life of an artist. There was something so exciting about what two can do next to a solitary painter. Also, spending several years fishing off Montauk in the late 70's before deciding to return to NYC and give it another shot …Joseph Conrad said, "If you would know the age of the Earth, look upon the sea in a storm." As I matured, art history offered different lessons and my influences would sound like the usual suspects.
There are also the early paintings of Eva Hesse, the humanity of early Greek and Roman frescoes and also African American vernacular art mostly seen in a book called Souls Grown Deep. Influences are also those that confirm one is on the right path, not necessarily something one is drawing from formally, but as a territory worth inhabiting—someone like early Peter Saul. And NYC in the 70's was quite a unique world and the city still is such an influence, this vibrant community of artists making such a passionate commitment to a life in the arts …one had better make the best thing possible. Of course, traveling a bit and seeing something of the world excited and expanded my art.
PB: The specific way in which you work—which feels like an exploration with paint—is evident. Can you shed some light on your studio practice and your experiences there?
My studio time is not unique, it runs the whole gamut: from the workman-like strokes that one makes until something more significant can happen, to the terrible certainty that it is all collapsing and one should just buy a boat and be done with it. There are the moments when I come alive; the marks seem determined, as if they always existed, and I am witnessing the process unfold—and all that one knows seems to be available in this illuminated moment. One also learns when to stop and step out of the trenches and look for a while to see what has been achieved, especially after the novelty wears off. Sometimes it's a way forward that's been rendered and sometimes one is rewarded with a decent work.
PB: You're on the faculty at SVA (School of Visual Art). How do you approach teaching?
FB: SVA has provided me with a wonderful place to work. I've been there since 1980 in the Undergraduate Fine Arts Department. Teaching is about being a conduit for the student, to provide a route to him- or herself. We offer a safe place for them to learn and to fail and make what they need to make at this time in their emerging careers. We endeavor to turn them into Students worthy of the name. I offer them my passion, my knowledge of how to work, the belief that art is a language, that the function of language is to allow us to speak, and that art comes from a life lived.
Students learn when they realize that the tools we are offering will enable them to get to where it is they want to be. It happens on all fronts, the entire expanse of being an artist—and faculty members can be an example that it can be done, that a life in the arts is possible. It's such a privilege to share one's hard won experience and be in a dialogue with young people, to be relevant. It is a vibrant part of my life and informs my own practice. We are all eternally students if we are artists.
PB: Who are some other artists whose work you're excited about right now?
FB: There is the beloved Kathy Bradford… I believe there are synchronicities in the air, shared stories and images born of what it is to be alive now and that her work is terrific. Jennifer Wynne Reeves makes me feel like a barbarian, in a good way. Peter Acheson, Peter Gallo… so many younger artists are excited about paint, what it allows and what it can speak to and that is encouraging. My Facebook community is really rewarding. I know I am leaving out many fellow travelers. I like what John Yau is writing about too.
PB: What other things out there fuel your work and progression?
FB: I am not sure about "out there." At this point in my life there seems to be a turning inward, a focusing on my work that keeps unfolding and a censorship on what I let in, even as I feel more connected than at any time in quite awhile. The miracle of a life with my wife—my muse, the upstate NY land we go to as a sanctuary… traveling and seeing the courage that people all over the world display in seeking justice makes me believe my task is to be as courageous as possible in the studio. I do want to see what the scope of my art can speak to: personal experiences, current events and history.
Recently, I feel that good work is somewhat like a time machine. It opens up one's past body of work to new interpretations and significance, and allows one to claim new territory for the future. My career has been up and down and then some. With the new technology of sharing and a turn in the currents, I have another run going. I feel painting now is crisscrossing old borders with passion, wisdom and abandon to make work that resonates. Our political, financial, religious and even scientific leadership has mostly failed us at this moment in history. I think the re-emergence of painting today is tied to the need to create our own mythologies and to document the depth of wonder at the terrible beauty of this existence. Thanks Mike.
version 13, 2010, oil on linen, 2 panels. overall: 108 x 87 3/8 inches (274.3 x 221.9 cm).
Untitled, 2011, oil, acrylic, and paper bags on canvas, 20" x 16"
Untitled (Stand), 2011, acrylic, unprimed canvas, wood, 61.25" x 28" x 5.75"
Altered stretcher bars, torqued and triangulated planes, backs as fronts—the work of Maria Walker is a lesson in harmonizing tradition and experimentation. But the path she's taken hasn't been an easy one. She has pushed her materials and flowed with them in order to elicit a distinctive sense of aesthetic truth. Many of her paintings involve dense soakings of pigment while others have a reworking of the stretchers that gives them the ability to stand on their own without being wall-mounted. A few pieces involve no canvas at all, which obviously changes how they're approached and perceived. Through all this exploration, there's a sense of sureness that surrounds what I consider challenging and thoughtful work. In the interview that follows, Maria offers concise insights into her working philosophy and the work itself.
Summer - Summer Solstice, 2011-12, acrylic, unprimed canvas, wood, 65.5" x 49"
Return, 2011-12, wood, 42" x 22"
Untitled (Orange and Blue), 2011, acrylic, unprimed canvas, wood, 16" x 14.25" x 4.5"
PB: Your work struck me as entertaining questions of image and object. What's your personal take on it?
MW: I approach my paintings as objects. I think of the wood, the canvas, and the paint in terms of their physicality, and I work to find a balance of these elements through my interaction with them. Images in the work arise as a visualization of this exploration. When a painting is successful or good, the image is integrated as an essential, necessary aspect of the object. The danger is when/if I indulge too much in the image aesthetically, making choices that take the painting away from its physical being. By closely considering the wood (the stretcher), the cloth (the canvas), and the paint, each element keeps the other two in check, questioning and verifying the necessity, directness, and clarity of each part.
PB: As you've looked around through recent and longstanding art history, whose work has made an impact on you?
MW: Two people specifically stick out in my mind. The first is Matisse, in particular the complex balance between lightness and rigor in his work. His paintings breathe with color, air, space, and joy, but as an artist he worked for each painting. There is honesty in his paintings, at times failure, but always pushing forward, very brave and open. He is one of the artists I remember first seeing as a child. His cutouts made clear sense to my child mind. In grad school, looking at his paintings helped me face and embrace the very difficult growing pains of pushing open my work.
Second, I think of Donald Judd at the Chinati Foundation in Marfa, Texas. I went to Marfa with my graduate school class, and to see that work in the context of the vast, empty Texas landscape blew my mind. I grew up in the flatness of Ohio, so I was really excited to see artwork that met that landscape so directly. Seeing his work helped me think about space, directness, and scale in my own. There were bells and whistles I could shed that allowed the work to step forward with more clarity.
PB: What challenges and considerations have you run into because of the experimental nature of working with canvas in this way?
MW: I work with the unprimed canvas because when the paint soaks into the cloth it becomes a part of it, part of the object itself, rather then sitting on top of the surface. Unprimed canvas is a challenge because it is not protected in the way that it would be with traditional oil paintings. So I take pains to keep it protected and clean (which is difficult in a small studio with a saw!). But these are objects, and eventual accumulation of wear may become visible, and that will become part of what it is. If it is a good painting, that shouldn't matter.
PB: Have you found yourself thinking more about the canvas and its needs rather than just the pigment and what it's doing?
MW: I think about the canvas as much as the paint as much as the wood. It comes back to that balance amongst the three materials. There is a large range of what canvas is—weight and weave, linen, drop cloth, cotton, wool. Each has its own color, weight, and density thereby responding to the wood and the paint in its own, specific way. The same goes for the wood and the paint. Different kinds of wood have different colors and weights and densities. Different paints have different translucencies, viscosities, respond differently to water, surface, and each other.
PB: Does music or historical figures and cultural situations/problems ever figure into your work?
MW: I rarely make work based on these things, though they may peripherally affect the energy in the studio. I'm more likely to figure in the element of time, whether it is a particular time of year (which affects decisions about color and light), or more objectively working with the idea of documenting time in the paintings. The second idea manifests in the calendar paintings; these document a specific period of time in the studio, usually using as a basis a stretcher divided into twelfths (as in a clock or a calendar). In the spaces of the clock, I pour the leftover paints from other paintings as I'm making them. The calendar paintings become an inventory of the other work concurrently made in the studio, and also a visualized document of the specific time frame.
PB: What's on your reading/looking/listening radar lately?
MW: I am nearing the end of "Within A Budding Grove", which is the second book of Proust's In Search of Lost Time. I love it! The book is seven books long, well over thousands of pages, so the scale of the experience of reading it is very different than any kind of reading experience. It is immersive and reflective, the language physical and descriptive… It recreates the experience of living while standing outside of that experience.
Also on my radar is my work as an art therapist. I work with adolescent kids with severe mental illnesses. It is hard, exciting work that keeps me aware of humanity and my trust in art making. It is a great antidote to the cynicism that can come with the art world.
MW: The advice I repeatedly give myself is to find my own clear sense of time. It is easy to be waylaid especially by the speeds of technology and the art world.
I also say to myself: See, see, see lots of art!
And: If there is a painting you want to make, make it.


Cima was an important and eminent Italian composer of the early 17th century. He was born around 1570 and it seems that he received an excellent education. His remarkable talent as a keyboard player was noticed during his teenage and young adult years. Cima lived his entire life in Milan and travelled to Rome, Venice, and other major Italian cities. At twenty-five he was appointed to the distinguished position of organist at San Maria presso San Celso Church. Cima twice held the position of maestro di cappella, first from 1607 to 1611, and then from 1614 until his death in 1630.
Cima was fairly active as a composer throughout his career: his first collection of works appeared in 1599 and contained several motets for four voices. A second publication including ricercars and canzonas followed in 1606. His 1610 collection, Concerti ecclesiastici, probably his most important, contains a mixture of instrumental and sacred vocal works. It also features the earliest surviving prototypes of solo sonatas and trio sonatas. He produced other compositions that were scattered throughout various publications from 1598 to 1626. Among the more significant of these were the vocal works that appeared in Regola del contrapunto, Angleria's important collection from 1622.
Cima remained active as a composer right up to his passing in 1626 from the "Black Death" which had swept throughout Italy.


Indian rupee crashed to its all-time low record of 69.09 against a dollar on Thursday. The rupee was affected due to the high demand of dollar and US' announcement to end it oil allies with Iran.
In the early trade on Thursday, June 28, Indian rupee opened at 68.89 and hit an all-time low of 69.09 a dollar. Breaching the all-time low record of 68.87, the market opened with 69.10 and fell down 0.61% from the previous close of 68.63. High demand of dollar from importers, oil refiners and banks have put an additional pressure on the rupee. Oil prices have increased since the United States have announced to end its oil import partnerships with of Iran.
Today's money crash was the lowest closing for the Indian rupee since November 24, 2016. At that time the value of the rupee was 68.73 as compared to a dollar.
On the deteriorating condition of the Indian rupee, market expert Rushabh Maru said the people are expecting RBI to intervene in the matter and take the appropriate action. The regulatory board should take measures to control the currency level by 68.80-68.85. If the situation continued then we may see a sharp depreciation and rupee may hike to 70.00- 70.50.
Manish Wadhawan, share market expert said that rupee will be affected whenever the dollar gets strengthen globally. He also added that India is a trade deficit country and it is natural when oil firms up, rupee get weak.
In the international market, US oil prices fall from a three-and-a-half year high. The physical market was not affected despite high demand and ongoing disruptions, say reports.
As per reports, the Asian stocks fell down to last 9 month lows, the US administration's approach to trade is harming global markets and growth even as it appeared to change the approach to curb Chinese investments in US tech firms.


text:
History of LegislationHaley Skrnich2022-11-21T15:10:43+00:00
Our team has been working for decades to secure parental rights.
We believe children are not commodities to be traded back and forth to settle disputes between adults. Children need loving parents and a stable home. And we work tirelessly to ensure all legislation that comes across the Texas legislature honors that. We believe a non-parent should not be able to usurp parental rights without showing that it is necessary to prevent significant harm to the child. You can read more about the campaigns we have worked on here.
Recently, tremendous victories and new initiatives on the parental rights front have produced substantial momentum for this movement:
Through the Pardo case in 2019, we drew international attention to the need for CPS reform in Texas. The following session, we worked with lawmakers to pass sweeping CPS reform through HB 567, leading to a 40% reduction in Texas children being removed from their homes by CPS.
In 2020, we coordinated an amicus team and legal strategy at The Supreme Court of Texas and secured the greatest judicial victory for parents in Texas history. In CJC, the court unanimously ruled that fit parents, not judges, decide what is in the best interest of their children. The ruling has transformed family law litigation to protect parents and children at every level of the judiciary.
Currently, we are recruiting amici as well as financing a legal team to secure a critical follow-up victory to the CJC ruling. In this new case, known as "Kalinec", The Supreme Court of Texas will consider what level of harm to a child must be found before a court may overrule the decisions of a fit parent. With this case, we are poised to secure a victory we have worked towards for the last 13 years.
Finally, we will enter the 2023 legislative session with a new package of CPS reforms designed to further reduce unnecessary CPS removals through additional due process protections for families. We are also championing a Texas Constitutional Parental Rights Amendment that will secure these hardwon parental rights victories for future generations.


text:
Daily Content Archive as of Monday, January 11, 2016
(as of Monday, January 11, 2016)
beatitude
Definition: (noun) Supreme blessedness or happiness.
Synonyms: blessedness, beatification
Usage: You have it in your power to raise two human beings from a state of actual suffering to such unspeakable beatitude as only generous, noble, self-forgetting love can give.
Noun Clauses
A noun clause is a type of dependent clause that is able to function grammatically like a noun in a sentence. What words most commonly begin a noun clause?	More...
The Money Pit of Oak Island
According to newspaper records, in 1795 excavations began at the site of a mysterious depression on Nova Scotia's Oak Island. A layer of flagstones was found buried a few feet below the surface, and layers of logs were uncovered at 10 ft (3 m) intervals. At a depth of about 90 ft (27 m), a large stone bearing an inscription of symbols was recovered; and translations revealed the secret message, "forty feet below, two million pounds lie buried." Whose treasure is believed to be buried there?	More...
Lawrence Textile Strike Begins in Massachusetts (1912)
The Lawrence Textile Strike was a strike of immigrant workers led by the Industrial Workers of the World (IWW), a revolutionary industrial union aimed at uniting all workers in an effort to promote socialism and overthrow capitalism. Of the 150 strikes conducted by the IWW, the Lawrence strike was one of the most notable, growing to more than 20,000 workers in one week and lasting more than two months. Were the strikers' demands met, or did the companies proceed with planned wage reductions?	More...
Parmigianino (1503)
Girolamo Francesco Maria Mazzola was an Italian Mannerist painter and etcher commonly known by his nickname Parmigianino, meaning "the little one from Parma." His works possess remarkable grace and sensuality, and he is regarded as one of the period's finest draftsmen. He was one of the first artists to practice etching, and through this medium his style became influential in Italy and beyond. One of his most curious works is a self portrait in which his image has been distorted by what?	More...
All this will not be finished in the first 100 days. Nor will it be finished in the first 1,000 days, nor in the life of this Administration, nor even perhaps in our lifetime on this planet. But let us begin.
John F. Kennedy (1917-1963)
be tipping (it) down
— To be raining very heavily. Primarily heard in UK. More...
Albania Republic Day (2017)
Republic Day was a national holiday in Albania, also known as Anniversary Day, which commemorated the founding of the Communist government on January 11, 1946, until April 15, 1991, when the first Parliament since the fall of the Soviet Union convened. More...
Today's topic: subdue
mortify - From Latin, meaning "kill or subdue the flesh," it originally meant "to kill," then "to destroy the vitality or vigor of," before it took on its present meaning. More...
pacify - Can mean "to subdue by armed action." More...
subdue - From Latin subducere, "draw from below." More...
tame - Came from Indo-European dom-, "tame, subdue." More...


First, the Platform Blueprint: this an environment agnostic specification used to define the platform topology and configuration of your Oracle Middleware. This provides an abstraction layer over the underlying infrastructure, allowing you to define a single Blueprint for all environments.
Second, the Platform Model: this maps the Platform Blueprint to the target infrastructure and overlays the environment specific configurations.
Consistency - Configuration across all environments, from Development through to Production, is managed through a centralized Platform Blueprint.
Flexibility - Environment specific overrides can be applied through Platform Models, allowing for configuration differences to be safely managed.
Governance - Platform Blueprint and Platform Models are version controlled. Release Pipelines provide complete control in promoting configuration changes across environments.
Most Oracle Middleware products run on Oracle WebLogic Application Server. WebLogic supports the concept of a Domain to group related clusters and servers. Some organizations use separate domains for each business unit or capability, others use it to group computational workload. How it is used is up to the organization.
Wizard: This guides the user through a simple process to capture the key design decisions for the Oracle Middleware topology and configuration and creates a corresponding Platform Blueprint.
Template: Choose from a set of pre-defined Rubicon Red certified templates to build your blueprint or use a template that you have previously created.
Introspection: Use MyST to discover and introspect an existing WebLogic Domain and create a corresponding Platform Blueprint.
Which Oracle Middleware product, version and components do want in your platform?
Separate layers per product component?
The minimum and maximum cluster size?
Do you want encrypted listen addresses for your WebLogic Servers?
Do you want to persist TLogs and JMS Stores to the database or file system?
Do you require GridLink data sources for Oracle Middleware product schemas?
Based on the answers provided, MyST will generate an Oracle EDG Compliant Platform Blueprint which can then be used to install and configure your Oracle Middleware Platform.
From the side menu navigate toModeling > Platform Blueprint. This will display a list of existing Platform Blueprints. Click on Create New in the top right-hand corner of the screen. This will launch the New Platform Blueprint wizard.
Initial Version - Specifies the initial version of the Platform Blueprint. See Platform Blueprint and Model Versioning for further details.
Finally, we need to specify how we want to create the Platform Blueprint. Keep the default selection of Wizard. Then click Next.
Next specify the Oracle Middleware version (for example 11.1.1.7, 12.1.3, 12.2.1.0, 12.2.1.1). For the specified Oracle Middleware Product Catalog and Version, MyST will list the components that are available for inclusion within the Platform Blueprint.
Finally select the required Oracle Middleware components to be included within your Platform Blueprint. You will notice that MyST automatically selects any mandatory components, for example, if you select Oracle B2B then Oracle SOA Suite will automatically be selected.
Each Platform Blueprint can only include components from a single Product Catalog. Components that are supported in multiple Product Catalogs (e.g. Web Services Manager) appear in all the applicable Product Catalogs.
Once all components have been specified, click Next.
Within MyST, Compute Groups are used to specify the logical topology of our WebLogic Domain.
When we layout out our WebLogic Domain, it is common to target different component types, such as the Web Tier, Oracle Service Bus and Oracle SOA to different groups of virtual or physical servers.
In Production, for example, we could have a WebLogic Domain consisting of four Oracle Service Bus managed servers, two SOA managed servers and a web-tier consisting of two Oracle HTTP servers.
It is also common for Non-Production environments, such as Continuous Integration (CI), System Integration Testing (SIT) and Pre-Production (PRE) to vary in size. For example, we may have a 4 node OSB cluster in Prod and Pre-Prod, with a two node OSB cluster in UAT and SIT and just a single node OSB and SOA (cluster) for CI.
As we have already mentioned, a core objective of MyST is to enable you to use a single Platform Blueprint for all these environments, so we can ensure that each of these environments has an identical configuration and prevent issues caused by configuration drift.
Compute groups in MyST allow us to specify the rules for targeting component-types to specific groups of servers, as well as specify the default, minimum and maximum number of nodes in the compute group, with the actual number of nodes in the compute group being specified as part of the Platform Model, but within the constraints specified by the Platform Blueprint. This provides the flexibility required to use a single Platform Blueprint across all environments.
The other consideration when specifying our domain topology, is whether to have a stand-alone admin node, in other words, whether to deploy it to its own compute group, or include it within an existing compute group.
As the admin server cannot be clustered, when selecting a stand-alone admin node, MyST will set the maximum number of nodes to one. When including it within an existing compute group, MyST will only provision the admin server to the first node in the compute group.
If you select a stand-alone admin server in the Platform Blueprint, you still have the option of overriding this in the Platform Model. This provides an additional level of flexibility, as you may want a stand-alone admin server in Production, but to co-locate it with another managed server in some environments in order to save resources.
Number of Compute Groups - From the drop-down, select the required number of Compute Groups.
Name - Provide a short name (such as web, soa, osb) for the Compute Group.
Components - Click on the appropriate check boxes to add the required components to a Compute Group. Note: A component can only belong to a single Compute Group, so selecting it for one Compute Group will automatically deselect it from its previous Compute Group.
Node Constraints - Specify the default, minimum and maximum number of nodes in the Compute Group. When creating a Platform Model, it will use the default value for the number of nodes. This can then be modified with the minimum and maximum constraints.
Finally, we need to select from the drop-down the target compute definition for all target hosts that will be used within each Compute Group.
The final stage is to specify a number of other key configuration decisions for the Platform Blueprint.
WebLogic Domain Name - Specify an appropriate WebLogic Domain Name.
Enable Standard Listen Ports - This option is selected by default and can only be disabled if you enable SSL Listen Ports.
Enable SSL Listen Ports - Select this option to enable SSL listen ports for the WebLogic Servers in the domain.
Enable Administration Port - Select this option to enable the SSL administration port for all WebLogic Servers in the domain.
Administration Port - Specify the port number for the SSL administration port (can only be set if the Administration Port is enabled).
JDBC Data Source Type - This option is used to specify the Data Source Type for Oracle Middleware specific schemas which are created by the Oracle Middleware Repository Creation Utility (RCU). If using Oracle RAC, then select a GridLink Data Source, otherwise use a Generic Data Source.
Persistence Strategy - Use this to specify whether TLOGs and JMS Stores are held on the File System or in the Database.
MyST will display a Summary screen showing all the key inputs specified in the Platform Blueprint Wizard.
Once done, click Finish. MyST will create the corresponding Platform Blueprint and take you to the Platform Blueprint Editor where you can make additional changes if required. See Editing Platform Blueprints for further details.
MyST comes with a catalog of certified Platform Templates, with "built-in" best practices for enterprise deployment of Oracle Middleware. We can use these to create our initial Platform Blueprint.
MyST also allows us to create our own Platform Templates, which can be used to create our initial Platform Blueprint. This can be useful if we have multiple domains in Production for the same Product Components. For example, we may have multiple SOA domains each designated to a particular line of business. Platform Templates allows us to capture a base "Platform Blueprint" that can be re-used to create the Platform Blueprint for each domain.
Initial Version - This specifies the initial version of the Platform Blueprint. See Platform Blueprint and Model Versioning for further details.
Finally, we need to specify that we want to use a template to create the Platform Blueprint. Select Templateand click Next.
The next stage is to select which template to use for our Platform Blueprint.
From the drop-down, select the required Platform Template. MyST will display the Platform Template description, allowing you to verify that the correct template has been selected. Once selected, click Next.


Read reviews about Sawadee Coconut Thai here! All reviews have been written by Quandoo users that have already booked and eaten at Sawadee Coconut Thai. We try to be as transparent as possible by providing you with real guest experiences. Find out what other diners are saying about Sawadee Coconut Thai.
we had an excellent meal at the Sawadee Coconut. Great Thai food and friendly service. We will definitely go again. Thanks for a great dinner.
Hidden gem in a Carlisle side street. Food was piping hot and well presented. Restaurant was very quiet when we visited but in fairness it was early on New Years Eve but the atmosphere became better once more people arrived.
Booked very late on new years eve, accomodated us no problem. Fantastic Thai food, friendly staff and lovely atmosphere. Reasonably priced and I totally recommend.
A hidden gem, as soon as you walk in the smell is lovely, food was delicious, service was great, will definitely be back for a meal and will also use for takeaway in the future.
The staff were very helpful and attentive. The food was lovely, well presented and the quality excellent; I would definitely look to go back. I noted there was an 5-6pm early bird offer which had a good selection of food.
Fantastic. Great service great food. we were the only people in until we asked for our bill and a group of 6 friends came in which I'd a shame as a place this good should be buzzing.
A fantastic meal, flavours where fantastic. The service and presentation where of a high standard. I would recommend this restaurant to any one. The best Thai restaurant and a great gem in Carlisle.
First time I booked a table here me and my family absolute loved it, really good food. I feel the quality's slipped since.. Jungle curry was bland and rice slightly overcooked. Desserts removed from the menu. However staff are incredibly friendly/accommodating and they're happy to cater for veggies!
I had the red thai curry with king prawns excellent very tasty would have it again. The others in our party had the massaman curry they liked very much. The sevice was very good and friendly. I would recommend this restaurant for a pleasant experience.


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text:
Asia Economy
Ex-Aussie PM: China learns stock lesson in real time
Published Fri, Jul 10 20159:26 AM EDT Updated Fri, Jul 10 201510:16 AM EDT
Matthew J. Belvedere@Matt_Belvedere
'Thin' link between China's stocks and economy: Pro
The recent interventions by China to try to halt its stock market meltdown are significant but not unprecedented, former Australian Prime Minister Kevin Rudd said Friday, pointing to similar moves in Japan and Hong Kong in the 1990s.
The financial markets in China are getting their first dose of real volatility, and regulators there are learning how to deal with it real-time, Rudd told CNBC's "Squawk Box."
"[China's] stock markets are not mature. Financial markets are not mature," he said. "And as a result, I think regulators are having in many cases their first burst of reality of how you deal with this sort of volatility."
Chinese stocks rebounded for a second session Friday, with the Shanghai composite adding 4.5 percent after Thursday's gain of nearly 6 percent. The market has fallen 24 percent since hitting seven-year highs in mid-June, although in the past year, it's up
90 percent in the past 12 months. After this week's crash, the government made a series of moves to quell the panic—including banning shareholders with large stakes in listed firms from selling, suspending initial public offerings and relaxing margin lending and collateral rules.
"This [intervention] is not unique in the annals of capitalism, even with Chinese characteristics," said Rudd, who is president of the think tank Asia Society Policy Institute. "Remember, it is a communist country, which says publicly that it runs a one-party state, which will intervene in the economy when it so chooses."
When thinking about the China's stock market and economy, Rudd said one has little bearing on the other.
"The role of the stock market there cannot be faintly equated with the significance of the New York Stock Exchange to the overall robustness of the U.S. economy," said Rudd, whose country has close trading ties with China.
China bubble fueled by margin loans: Expert
Andy Xie, formerly Morgan Stanley's chief Asia-Pacific economist, disagrees with the notion of a Chinese stock market and economy disconnect.
"The market came down because it was not supported by the economic fundamentals. China's economy has been slowing down for several years," he told CNBC.
Chinese stocks surged over the past year on the hope that China's economy would strengthen again, said Xie, now a Shanghai-based independent economist. "If the government wants to reverse the trend, it has to do serious economic reforms."
John Rutledge, chief investment strategist at Safanad, told CNBC he's not optimistic that Chinese stocks have bottomed—despite the rebound over the past two days.
"I've never seen a bubble pop halfway," he said. "They're throwing everything but the kitchen sink at this so far. I think this thing could do a lot further."


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text:
Principles of EU Law
/The European Union / EU Law / Principles of EU Law
General Principles of EU Law
General principles of European law are unwritten rules used and applied in the interpretation of European Union law. They involve principles of justice and principles designed to protect human rights. They may fill gaps in law and make the law more coherent. General principles of community law derive from a number of sources.
The EU treaties allow EU courts to apply the general principles of the laws of the states in deciding the civil liability of the Union itself. The principles have been applied generally to all aspects of the European Community laws.
It is a general principle of law that it should be certain and coherent. It should be clear and precise, foreseeable in its application. The concept of legal certainty is expressed in a number of ways. Legal action should not be retrospective.
EU institutions must act in good faith in administrative matters and in their contractual relations. Institutions must comply with the law and the rule of law. They should respect vested rights. The principle of legitimate expectations should be respected. Those who follow the law in good faith should not be frustrated in their expectations in relation to that law and its application.
The European Union courts imply procedural fairness in administrative matters. This incorporates some generally accepted international principles of law. Persons are entitled to the right to fair procedures. This requires a fair hearing.
Sources of EU General Principles
European Union courts have recognised and have regard to the general principles common to the law of the member states. This applies even where there are significant divergences in laws. The general principles of the law of the member states may be discovered on comparison. However, this is not a mathematical process of finding a common ground or counting the states which applies a particular principle. The courts at European Union level draw on principles of laws in a general way.
The principles as incorporated at EU level have their own independent meaning and need not necessarily coincide to those in national law. Some of the basic principles include equality and just enrichment, civil liability for wrongs, confidentiality, rights of access to the legal system, business confidentiality, mitigation of penalties.
Certain general principles of law have been inferred from the objectives and context of the European Community. The principle of non-discrimination is firmly based in the treaty. There are specific prohibitions on discrimination by authorities (and others) on the basis of sex, racial or ethnic origin, religion, belief, age, disability or sexual orientation. The principle of equal pay between men and women is set out in the treaty.
Proportionality was a German law concept imported early into the European Union. It obliges public authorities to place no more obligations than reasonably necessary or proportionate for the particular purpose to be achieved. The burden imposed should be in proportion to the objective required. Where there are several alternatives, the least onerous should be chosen.
The principle of proportionality has now been entrenched in the EU treaties. An action of the Union shall not go beyond what is necessary to achieve the object of the treaty.
The principles of free movement of goods, people, services, and capital are central to the common market. The rules on common standards and competition are integral to the common market. These general freedoms are employed in interpreting European Union legislation.
The original European Union treaties did not contain any protections for human rights. Many national constitutions contain human rights protections. As European Union law sought to have superiority over domestic law in areas of EU competence, it was a practical necessity that common human rights principles should be incorporated.
The European Court of Justice recognised at an early date that fundamental human rights are part of the general principles of Union law cases. They referred to international treaties for the protection of human rights and in particular the European Convention on Human Rights and its case law.
Although the European Union deals principally with economic matters, the principles of the separate European Convention on Human Rights convention were imported into European law at an early date. Since the early 1970s, European Court of Justice has made reference to the principles and case law of European Court of Human Rights in its decisions.
The European Court of Justice has recognised several basic principles which are reflected in the European Convention on Human Rights including
rights to equality,
rights to human dignity,
rights to exercise economic and professional activities.
rights in respect for private and family life, home and correspondence,
rights to property,
rights to free speech,
rights to religious freedom,
rights to a fair hearing and due process.
The Treaty on European Union incorporated, recognised that the protection of human rights is a fundamental principle of EU law. It provided that cooperation in justice and home affairs should be undertaken in accordance with the Convention's principles.
The TEU provided that a state might have its EU rights suspended where the Council determined that it had undertaken serious and persistent violations of human rights. If the Council determines a clear risk of a serious breach of human rights by a state arises, it may address recommendations to the state to deal with it.
Charter of Fundamental Rights
The Charter of Fundamental Rights of the European Union was drafted by a convention comprising members of the states, the European Parliament, governments and national parliaments. The charter was adopted by a solemn declaration by the Council, European Parliament and Commission jointly.
The charter was not initially legally binding but was highly influential. Its set out basic freedoms and rights and made them explicitly part of the European Union order.
The Lisbon Treaty reforms and amends the existing treaties. It largely follows the principles of the failed European Constitution. There are two treaties, the Treaty on European Union (TEU) and the Treaty on Functioning of the European Union (TFEU). They create the European Union as the single EU entity.
The Lisbon Treaty amendments declare that the European Union is based on certain common principles of respect for human dignity, freedom, democracy, equality, the rule of law and respect for human right. If a state breaches or threatens to breach these principles, the EU can take steps against the state concerned.
The European Charter of Fundamental Rights became part of the treaties under the Lisbon Treaty and is binding on the European institutions and the member states, in the context of EU law and practice. The Charter corresponds in many respects with European Convention on Human Rights. In some respects, it goes further than it.
The EU itself is to become a party to the European Convention on Human Rights, although the process is stalled at present. This would mean that or the first time, the European Court of Human Rights may scrutinize the laws and actions of the European institution. The European Court of Human Rights could in principle override the European Court of justice in respect of human rights matters if accession is completed.
The European Agency for Fundamental Rights was established in 2007. Its role is relatively limited, being to provide assistance and expertise to states and the EU on human rights issues.
The agency has no jurisdiction to deal with complaints. Its opinions are not binding. It has relatively little powers. Its functions are to formulate conclusions and opinions on its own initiative or at the request of institutions, present annual reports, highlight good practice, provide thematic reports on matters relevant to EU policies.
The general principles of law are of great importance in interpreting the treaty. They are superior to secondary legislation and measures.
Principles of Interpretation
The European Court of Justice employs various methods of interpretation. The Vienna Convention on the Law of Treaties provides that the ordinary treaty should be interpreted on the basis of their ordinary meaning in the context and in the light of their object and purpose. The European court has emphasised its context, purpose and objects and does not favour an overly literal interpretation.
European Union legislation is drafted in several languages. Each version has equal status. Various methods are drawn on to interpret European Union law. One key objective is the desire to maintain coherence and unity within the European Union legal order and system.
The courts will attempt to give effect and meaning to a provision if at all possible. An interpretation which gives effect to a provision will be preferred over one which leaves it void of meaning.
The principle of precedent used in common law does not strictly apply in European Union law. It follows the continental civil law systems which lay less emphasis on precedent. However, the European Court of Justice has developed European Union law very significantly.
The European Court of Justice has sought to evolve case law that can be used as a basis for other national courts and parties implementing and understanding European Union law. It does generally adhere to previous decisions and will depart from them only in exceptional circumstances, having considered the full implications.
European Court judgments refer to previous judgments as a basis for decisions. There was controversy as to whether the case law of European Court of Justice and Court of # constitutes law in itself. The principles have been built up in a coherent way, but the doctrine of precedent does not apply in strict terms. There is support for the view that the decisions of Court of Justice are binding in relation to the interpretations of the treaties.


text:
Lys-Saint-Georges Hotels
Hotels in Lys-Saint-Georges, France
Search & Compare Lys-Saint-Georges Hotels
Map of Lys-Saint-Georges hotels
Best hotels in Lys-Saint-Georges
What's Lys-Saint-Georges Like?
If you're looking for a place to get away, look no further than Lys-Saint-Georges. Whether you're planning to stay for a night or for the week, the area around Lys-Saint-Georges has accommodations to fit every need. Search for hotels in Lys-Saint-Georges with Hotels.com by checking our online map. Our map displays the areas and neighborhoods around all Lys-Saint-Georges hotels so you can see how close you are from landmarks and attractions, and then refine your search within the larger area. The best Lys-Saint-Georges hotel deals are here with our lowest price guarantee.
Where are the Best Places to Stay in Lys-Saint-Georges?
Below are the number of accommodations by star rating in Lys-Saint-Georges and the surrounding area:
How to Get to Lys-Saint-Georges
Flights to Lys-Saint-Georges
• Chateauroux (CHR-Chateauroux - Centre), 15.1 mi (24.4 km) from central Lys-Saint-Georges
Things to See and Do in Lys-Saint-Georges
Things to See near Lys-Saint-Georges:
• George Sand's House (7.6 mi/12.3 km from the city center)
• Sarzay Castle (5.3 mi/8.5 km from the city center)


text:
Why Macron must win his pension reform battle
The French president's legacy hinges on raising retirement age.
Opinion polls show between two-thirds and three-quarters of voters disapprove of the reform | Pool photo by Ludovic Marin via Getty Images
By Paul Taylor
Paul Taylor is a contributing editor at POLITICO.
PARIS — French President Emmanuel Macron has staked his second term — and his reputation as an economic reformer — on making the French work longer for their pensions.
His government proposes raising the official retirement age from 62, the lowest of any major country in the European Union, to 64 by 2030, and making people contribute for longer in order to receive a full pension — 43 years instead of 41.5 by 2027 instead of 2034.
After months of talks with trade unions, employers and political parties, which led Macron to drop his initial election pledge of retirement at age 65, the centrist president has taken up this unpopular but politically necessary stand on pension reform to make the French economy more competitive.
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Prime Minister Élisabeth Borne has negotiated a tentative agreement with the center-right Les Républicains party to secure a parliamentary majority for the bill, and has offered sweeteners — such a minimum pension of €1,200 a month for retirees with a full contribution record, and earlier retirement for those who do physically wearing jobs or started work before age 20.
However, the biggest challenge lies not in parliament but on the streets.
Opinion polls show between two-thirds and three-quarters of voters disapprove of the reform, which Borne says is essential to save the system in which today's workers pay for the pensions of current retirees. Without any change, even in the most optimistic scenario, the system will run a deficit of €5 billion a year by 2030.
In response, the unions have called for nationwide protests, strikes and go-slows starting today, January 19, and they aim to get a million people on the street. But it remains to be seen whether France's poorly unionized workforce — struggling with inflation, soaring energy bills and the aftermath of COVID-19 — will stay the course for a sustained campaign of disruption.
For the last decade, electorates in most EU countries have accepted a later retirement age, largely without protest, as the inevitable economic and demographic consequence of longer life expectancy and lower birth rates, which results in fewer workers and more retirees.
It's a matter of generational justice that as we all live longer, people should work longer for their own pension and not expect younger cohorts to carry a growing burden. Given the evolution of housing prices and the increasingly precarious nature of work contracts, boomers already possess more wealth than the young can even hope to acquire.
Only the French continue to resist this reality. They regard the unfunded pay-as-you-go state pension system as the bedrock of their social model. Attempts to introduce private pension funds or personal retirement accounts, à la the United Kingdom, have never caught on in this nation, which is both revolutionary by temperament and deeply risk-averse when it comes to managing personal finances.
Retirement at 60 for all was the great social promise delivered by former President François Mitterrand when he swept to power in 1981, heading a union of socialists, communists and left radicals. The left has historically championed shorter working time, longer paid vacation and earlier retirement as the dawn of a new society of leisure, and Mitterrand even appointed a former trade unionist as "minister of free time."
Protesters take part in a torch-lit march called by the CGT workers' union to protest the French government's pensions reform plan, on the Canebiere in Marseille, southeastern France, on January 17, 2023 | Nicolas Tucat/AFP via Getty Images
To this day, many on the French left remain wedded to this "lump of labor fallacy," which assumes there is a fixed amount of work that can be divided more equitably if people work 35 instead of 40 hours a week, and that retirement at 60 automatically creates more jobs for the young.
They also tend to bury their heads in the sand when faced with ample empirical evidence to the contrary — unemployment, and especially youth unemployment, in France has remained stubbornly above the eurozone average, despite the country's 35-hour week and earlier retirement.
Attempts by center-right successors to unpick Mitterrand's pension legacy have encountered massive resistance. Gaullist President Jacques Chirac was forced to abandon a proposed pension reform in 1995 after weeks of crippling public sector strikes. His successor, Nicolas Sarkozy, did manage to ram through an increase in the minimum retirement age, raising it from 60 to 62 in 2010, but only after months of protests sapped his authority and probably cost him reelection in 2012.
Socialist François Hollande, who defeated him, took a different approach, attempting to stealthily reform the system instead, leaving the headline retirement age unchanged but gradually raising the number of contribution years required to receive a full pension. This meant that people with a higher education or with career breaks would already have to work until the ages of 64 to 67 to receive the maximum retirement benefit.
Macron's government, meanwhile, has held months of consultations with organized labor, but still failed to secure the crucial support of the reformist French Democratic Confederation of Labor union to break the united rejectionist front.
In parliament, both the left-wing NUPES alliance led by populist Jean-Luc Mélenchon and far-right populist Marine Le Pen's National Rally are campaigning to reject the bill. They demand that retirement at 60 be restored for all or some workers, even though average life expectancy has risen from 74 in 1981 to 83 today.
Pensions already eat up 15.9 percent of France's GDP, compared to the EU average of 13.6 percent — and just 12.6 percent in Germany. When asked how they would fund earlier retirement, Mélenchon and the unions insist the answer is to make bosses pay more through higher payroll taxes. Le Pen, for her part, simply evades the question.
But this is magical thinking that needs to be punctured.
The only real alternatives to later retirement are either cutting pensions — which no one wants — increasing contributions, or raising taxes, which is hardly realistic in a country that boasts the second highest tax take in Europe after Denmark.
Yet, as is often the case, the French prefer to fight over symbols rather than engage with facts and figures. The reality is that many people already retire after 62, either to secure the maximum pension benefit or because they feel fit and healthy and want to stay active and maintain their standard of living.
Another problem is that French employers don't want to keep elderly workers on their payroll, as they cost more and are assumed to be less adaptable to new technology and working methods. Currently, only 35 percent of people aged 60 to 64 are still in full-time employment. Yet, the MEDEF employers' association is resisting a government proposal requiring big companies to publish data on older workers in a "seniors index" for fear of being forced to retain quotas of oldies.
French bosses need to get real too. If the public is to embrace later retirement, companies must play their part by making better use of seniors. It's in their interest.
What's at stake in this battle is France's image as a dynamic economy capable of adapting to the times and attracting investment — but it's also a question of fairness between generations. Despite errors in presentation and his lack of empathy with hard-pressed workers or the unemployed, this is why Macron must win.
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Competition Cost of living French politics Inflation Labor Labor unions Pensions Society and culture Tax Unemployment Unpacked
Élisabeth Borne Emmanuel Macron François Hollande Francois Mitterrand Jacques Chirac Jean-Luc Mélenchon Marine Le Pen Nicolas Sarkozy


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