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Displaying posts with tag: "Art"
Kinetic Creative developing Van Gogh Experience Centre
Kinetic Creative, a design studio which creates year-round attractions, has announced a new project, working with House of Leisure on a new Van Gogh Experience Centre....
Celebrity and fashion boost museum and gallery visitors...
The Art Newspaper's annual international survey, Art's Most Popular, shows that fame sells, as it reveals 2018's most visited shows and museums. The survey suggests that...
How artainment fuses technology and art to create a...
6th	March 2019
Galleries and museums are evolving as they look to keep pace with visitor expectations and rapidly developing technology. One key trend is artainment, which is fusing art...
The Met x Microsoft x MIT: exploring art through AI
7th	February 2019
The Metropolitan Museum of Art, Microsoft, and the Massachusetts Institute of Technology (MIT) have partnered to imagine new ways for audiences to engage with art through...
CANNABITION – The latest joint to hit immersive...
26th	November 2018
CANNABITION is an immersive cannabis-themed art museum in Las Vegas that explores the history, culture and art surrounding cannabis use. CANNABITION opened on 20...
Kaleidoscape: Meow Wolf and Elitch Gardens to open art...
24th	August 2018
Meow Wolf has partnered with Elitch Gardens - both in Denver, Colorado - to open a new art ride called Kaleidoscape in April 2019. Kaleidoscape will be a...
7thSense Design projection mapping for The Egg art...
3rd	August 2018
Award-winning media solutions specialist, 7thSense Delta Media Servers, have provided projection mapping for an egg-shaped art installation. The "XI Gallery" in New...
Museums: Smithsonian's attendance tops record...
By Tracy Kahaner, Director, Kahaner Research. Related: January 2010: Smithsonian attendance rebounds / March 2010: Museum attendance in San Francisco &...
Take two rocks, twice a day after meals…
For the last two centuries it has become a destination for holidaymakers and aesthetes seeking a break from the city. From Tolkein to Jane Austen, Tennyson to Whistler...


Vegetarian Food is not always easy to find in Nana / Asoke area of Bangkok. I have always been on the lookout but could not find much other than the Indian restaurants that all serve vegetarian Indian food. Of course there a few Thai restaurants that will make a Thai Vegetarian Curry on order, but one can never be sure if the curry paste used by them contains shrimp paste or not. Therefore, it was nice to learn of this food stall in the food court called "Pier 21" at Terminal 21 Shooping Mall next to BTS Asoke Station. The signboard there says "Vegetarian Food" and they do have a few surprises in store. First of all, the prices are really delightful. Imagine a Rice / Thai Noodles with Mushroom Curry Sauce for just 25 THB or a Mussaman Curry for 30 THB. One can have a full vegetarian meal consisting of brown rice and a choice of one, two, or three curries at 25, 30, or 40 THB. This is fantastic, see picture below. Then there are other tempting preparations like Fried Chinese Mushrooms, Crispy and Spicy Fried Mushrooms, Spicy Minced Tofu Salad, Spicy Tofu and Tomato Dip, all for 30 THB each. I guess one will need just a side serving of steamed rice to go along will any of these dishes.
The 40 THB vegetarian meal that one gets here is perhaps the best value meal one can hope to get anywhere in Bangkok. It actually starts at 25 THB if you choose to have just one curry. There are about 5-6 choices and it is easy to pick at least three. Take away orders cost 5 THB more.
Tip: If you are going for dinner, go early because this place manages to sell all of their food by 8.00 pm.
And if one really finds no food left in the vegetarian food corner, one can still try some of the heavenly vegetarian desserts in this stall close to Vegetarian Food. There are a lot of fresh mangoes on the shelf. Here, one can have Iced Assorted Beans in Syrup (20 THB), 5 Tropical Nuts in Laongan Syrup (30 THB), Palm Seed / Corn / Grass Jelly (30 THB), or Salim / Red Ruby-like Chestnut in Coconut Milk for 30 THB. They even have the popular Sweet-sticky Rice with Mango at 35 THB. Actually, the vegetarian food at the food stall is not very heavy so one is easily able to enjoy some of these desserts after a vegetarian meal. I loved this. So will you.


Buying a home is one of the biggest investments you will ever make. Use our calculators to see if you're ready to buy. *All rates and percentages are approximations. Please see a mortgage professional for current information.


TAMPA, Fla. - A federal jury rendered a verdict on Dec. 19, 2018 awarding $850,000 in compensatory and punitive damages to a female farmworker at Favorite Farms in Dover, Fla., who was raped by her supervisor and reported it to police and management that same day, the U.S. Equal Employment Opportunity Commission (EEOC) announced today.
Such alleged conduct violates Title VII of the Civil Rights Act of 1964. The EEOC filed its suit (Civil Action No. 8:17-cv-01292-JSM-AAS) in U.S. District Court for the Middle District of Florida after first attempting to reach a pre-litigation settlement through its conciliation process.
The Tampa jury of seven returned a unanimous verdict finding that the victim was entitled to compensatory damages of $450,000 and punitive damages in the amount of $400,000.
"This verdict is significant because the jury was able to see the plight of a vulnerable woman at work," said Robert E. Weisberg, regional attorney of the EEOC's Miami District Office. "I want to thank the litigation team which was able to secure this substantial jury verdict."
EEOC Trial Attorney Oshia Gainer Banks added, "Today's verdict reinforces every woman's right to be safe in the workplace. It is unfortunate that, when a woman was raped on their property, Favorite Farms chose to retaliate against their employee rather than take action against its manager."
Michael J. Farrell, district director of the EEOC's Miami District Office, added, "This verdict also sends a strong message to employers who fail to work together with the EEOC during the administrative phase of any investigation where a violation of the law is found. Stopping sexual harassment continues to be a priority at the EEOC and this verdict shows that we are ready and able to enforce the law."


All French children under 15 will be banned from using their phones at any point during the day. This child is playing with an iPhone X in in Tokyo.
Banning phones in school was one of Emmanuel Macron's pledges while campaigning for president.


Zaccheus the rich man...Bartimaeus the blind man... a nameless woman at a well...a dead friend named Lazarus...a demon possessed man in a graveyard... a little boy with a lunch to share...a woman caught in adultery... They were ordinary people who met an extraordinary Savior. Jesus surprised them with grace and changed their lives forever. Blending the original narratives from Scripture, great research and "sanctified imagination", Tim Roehl brings these stories of people who met Jesus alive as if you were there. As you read their stories, you'll find your own story as well. You'll find that the same Jesus who loved, healed, forgave and set hearts free then still does it now. You'll find yourself saying, "That's the Jesus I want to know!" Originally released in 2000, this is the second edition of "Surprised by Grace".


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Edogava Ranpo (vagy Edogava Rampo, 江戸川 乱歩, 1894. október 21. – 1965. július 28.) eredeti nevén Hirai Taró (平井 太郎), japán író és irodalmi kritikus volt, akit a modern japán krimi atyjának is tartanak. Leghíresebb figurája a detektív Akecsi Kogoro (明智小五郎), aki későbbi könyveiben egy fiúkból álló detektívcsoport, más néven a Detektív Fiúk Klubbja (少年探偵団 Sónen Tanteidan) vezetője lett.

Ranpo legnagyobb példaképe Edgar Allan Poe volt, akire az írói álneve is utal. Több író is nagy befolyással volt rá, például Sir Arthur Conan Doyle, akinek munkáit japánra fordította, mikor a Vaszeda Tudományegyetem diákja volt, Maurice Leblanc és a szintén japán krimi-író Kuroiva Ruikó (黒岩涙香).

Élete
Hirai Taró 1894-ben született egy gazdag családban Nabariban, Mie prefektúrában. Apja egy nagy céget vezetett, így nem voltak pénzügyi gondjaik. A család átköltözött a mai Kamejamába, ami szintén Mie prefektúrában van és onnan Nagojába, mikor Ranpo  két éves volt. 1912 és 1916 között közgazdaságtant tanult a Vaszeda Tudományegyetemen. Miután lediplomázott Poe-hoz hasonlóan ő is különböző érdekes munkákat vállalt, köztük újságszerkesztést, képregény-rajzolást magazinokban, szoba leveseket árult az utcán és használt könyv boltban is dolgozott.

1923-ban debütált a Ni-szen Dóka (二銭銅貨, Két-szen réz érme) című krimi történetének publikálásával "Edogava Ranpo" írói álnév alatt. A történet megjelent a népszerű Sin Szeinen magazinban, mely elsősorban a fiatalokat célozta meg. A Sin Szeinen korábban is publikált történeteket különböző nyugati íróktól, köztük Edgar Allan Poe-tól, Arthur Conan Doyle-tól és G. K. Chestertontól is. Noha Ranpo előtt már több japán író is írt a krimi műfajában, mint Kuroiva Ruikó, Okamoto Kidó, Tanizaki Dzsunicsiró és Szató Haruo, mégis ő lett az első, aki igazán nagy népszerűséget szerzett magának, ezért is nevezik őt a modern japán krimi atyjának. Ranpo Ni-szen Dóka című művében az volt az újdonság, hogy a központba helyezte a racionális gondolkodás menetét a bűntény megoldásához, miközben a történet szorosan kapcsolódott a japán kultúrához.

A következő pár évben Ranpo több művet is írt, aminek a központjában egy bűntény megoldása áll. Számos műve vált a 20. századi japán irodalom klasszikusává. Például a D-dzaka no Szacudzsin Dzsiken (D坂の殺人事件, Gyilkossági ügy a D. Dombon, 1925. január) egy házasságon kívüli szado-mazo kapcsolat alatt meggyilkolt nőről szól. A Jane-ura no Szanposa (屋根裏の散歩者, Lesvadász a tetőn, 1925. augusztus) egy férfiről, aki egy tokiói panzióban úgy öli meg a szomszédját, hogy egy tetőn lévő lyukon keresztül mérget cseppent a szájába és a Ningen Iszu (人間椅子, Az emberi szék, 1925. október), amiben egy férfi belebújik egy fotelba, hogy érezze magán a testeket. Előszeretettel jelenített meg műveiben optikai szerszámokat, mint lencsék, tükrök, például a Kagami-Dzsigoku (鏡地獄, Tükrök Pokla) című művében.

Az 1930-as évektől elkezdett egy új, érzelmesebb műfajban is alkotni, amit sokan úgy neveztek, hogy "ero guro nanszenszu", ami három szóból jött: "erotika, groteszk és abszurd". Az ilyen művekben megjelenik az "abnormális szexualitás" (変態性欲 hentai szeijoku), amit gyakran előhozott. Például az Kotó no Oni (孤島の鬼, A magányos sziget démona) című művének nagy részében megjelenik egy homoszexuális orvos és annak rajongása egy másik főszereplő iránt.

Ranpo gyakran írt neves újságoknak, ezzel népszerűsítve a krimi műfaját. A detektív hős Akecsi Kogoro, aki először a D-dzaka no Szacudzsin Dzsiken című munkájában jelent meg, állandó szereplőjévé vált történeteinek. Az egyik legnagyobb ellensége egy aljas bűnöző, az úgynevezett Kaidzsin Ni-dzsú Menszó (怪人二十面相, A húsz arcú ellenség), aki rendkívüli módon tudja álcázni magát és elvegyülni a tömegben. Egy 1930-ban megjelent regényében bemutatta Akecsi Kogoro új társát, a kamasz Kobajasi Josiót (小林芳雄) és a második világháború után több könyvet is írt róluk, majd egy fiatalokból álló nyomozók csoportjának, a Sónen Tanteidannak (少年探偵団, Detektív Fiúk Klubbja) a vezetőivé is tette őket. Ezek a munkái ma is hatalmas népszerűségnek örvendenek, főleg a fiatalok körében.

1939-ben Ranpot utasították a kormány cenzorai, hogy az Imo Musi (芋虫, A pillangó) című történetét ne adassa ki, mert ez a mű egy mind a négy végtagjára lebénult veteránról szól, aki nem képes járni, mozogni vagy egyedül élni. A cenzorok betiltották a sztorit, mert szerintük kihatna az éppen folyó háborúra és az embereknek elmenne a kedvük tőle.

A második világháború alatt, főleg az 1941 óta tartó intenzív japán-amerikai háború alatt, Ranpo aktívan politizálni kezdett és számos történetet is írt fiatal detektívekről és nyomozókról, amiket kiadathatott, de ezeket főleg más álnevek alatt írta, mert neve állandó cenzúrát kezdett vonzani maga után. 1945 februárjában a családját evakuálták ikebukurói otthonukból, Tokióból az észak-japáni Fukusimába. Ranpo még júniusig ott maradt, miközben alultápláltságban szenvedett. Ikebukuró nagy részét elpusztították a Szövetségesek légierői és a későbbiekben kitörő tűzvészek, de valami csoda folytán a masszív, kemény falú raktárház, amit stúdiónak használt megmenekült és még ma is a Rikkjó Egyetem kampuszán áll.

A háború utáni időszakban Ranpo minden energiáját a krimi műfajának népszerűsítésébe fektette. 1946-ban támogatni kezdett egy új újságot, a Hószekit (宝石), ami a krimi műfajára specializálódott. 1947-ben pedig megalapította a Detektív Írók Klubbját (探偵作家クラブ Tantei Szakka Kurabu), ami 1963 óta a Japán Krimi Írói (日本推理作家協会 Nihon Szuiri Szakka Kjókai) nevet viseli. Nagyon sok cikket is írt a japán, az európai és az amerikai krimi sztorik történetéről, melyekből volt ami könyv formájában is publikálásra került. Ezeken kívül folytatta a fiataloknak szóló Akecsi Kogoro és a Sónen Tanteidan (Detektív Fiúk Klubja) kalandjait is.

Egyik érdeke volt, főleg az 1940-es és 1950-es években, hogy felkeltse a figyelmet egy közeli barátja, Ivata Dzsunicsi (1900-1945) munkáira, aki sok évig antropológusként a homoszexualitás történetét kutatta Japánban. Ivata 1945-ben halt meg, mikor még csak a műveinek egy része volt kiadva, így Ranpo azon kezdett dolgozni, hogy több könyvét is kiadassa a homoszexualitás történetéről.

Ranponak nagyon sok műve később meg is lett filmesítve.

Az Edogava Ranpo Díjat (江戸川乱歩賞 Edogava Ranpo Só), amit róla neveztek el, egy japán irodalmi díj, amit 1955 óta minden évben átad a legjobb krimi írónak a Japán Krimi Írói csoport. A győztes 10 millió jent kap és publikálhat a Kodansha kiadónál.

Végül Edogawa Ranpo 1965-ben agyvérzésben halt meg az otthonában. A sírja a Tama temetőben található Fucsuban, Tokió mellett.

Leghíresebb művei

Magán detektív Akecsi Kogoró sorozat

Novellák

 D-zaka no Szacudzsin Dzsiken (D坂の殺人事件, Gyilkossági ügy a D. Dombon, angol cím: The Case of the Murder on D. Hill, 1925. január)
 Sinri Siken (心理試験, A pszichológiai teszt, angol cím: The Psychological Test, 1925. február)
 Kurote-gumi (黒手組, A Fekete Kéz Banda, angol cím: The Black Hand Gang, 1925. március)
 Júrei (幽霊, A kísértet, angol cím: The Ghost, 1925. május)
 Janeura no Szanposa (屋根裏の散歩者, Lesvadász a tetőn, angol cím: The Stalker in the Attic, 1925. augusztus)
 Nanimono (何者, Senki, angol cím: Who, 1929. november)
 Kjóki (兇器, A gyilkos fegyver, angol cím: The Murder Weapon, 1954. június)
 Cuki to Tebukuro (月と手袋, Hold és kesztyűk, angol cím: Moon and Gloves, 1955. április)

Regények

 Isszun-bósi (一寸法師, A törpe, angol cím: The Dwarf, 1926)
 Kumo-Otoko (蜘蛛男, A Pókember, angol cím: The Spider-Man, 1929)
 Rjóki no Hate (猟奇の果, A régiség-vadászat határa, angol cím: The Edge of Curiosity-Hunting, 1930)
 Madzsucu-si (魔術師, Az ördögűző, angol cím: The Conjurer, 1930)
 Kjúkecuki (吸血鬼, A vámpír, angol cím: The Vampire, 1930) Kobajasi első megjelenése
 Ógon-kamen (黄金仮面, Az arany maszk, angol cím: The Golden Mask, 1930)
 Kuro-tokage (黒蜥蜴, A fekete gyík, angol cím: The Black Lizard, 1934) Megfilmesítette Fukaszaku Kindzsi 1968-ban
 Ningen-Hjó (人間豹, Az emberi leopárd, angol cím: The Human Leopard, 1934)
 Akuma no Monsó (悪魔の紋章, Az ördög címere, angol cím: The Devil's Crest, 1937)
 Ankoku-szei (暗黒星, Sötét csillag, angol címe: Dark Star, 1939)
 Dzsigoku no Dókesi (地獄の道化師, A Pokol bohóca, angol címe: Hell's Clown, 1939)
 Kenin Gengi (化人幻戯, A szörny trükkje, angol cím: Monster's Trick, 1954)
 Kage-otoko (影男, Árnyékember, angol cím: Shadow-Man, 1955)

Ifjúsági regények

 Kaidzsin Ni-dzsú Menszó (怪人二十面相, A húsz arcú ellenség, angol cím: The Fiend with Twenty Faces, 1936)
 Sónen Tanteidan (少年探偵団, A Detektív Fiúk Klubbja, angol cím: The Boy Detectives Club, 1937)

Különálló krimi regények és novellák

Regények

 Panorama-tó Kidan (パノラマ島奇談, Panoráma-sziget érdekes története, angol cím: Strange Tale of Panorama Island, 1926)
 Kohan-tei Dzsiken (湖畔亭事件, A tóparti vendéglő esete, 1926)
 Jami ni Ugomeku (闇に蠢く, Tekergés a sötétben, 1926-27)
 Indzsú (陰獣, Szörnyeteg az árnyékban, angol cím: Beast in the Shadows, 1928)
 Kotó no Oni (孤島の鬼, A magányos sziget démona, 1929-30)
 Módzsú (盲獣, Módzsú: A vak bestia, angol cím: Moju: The Blind Beast, 1931)
 Hakuhacu-ki (白髪鬼, A fehér hajú démon, 1931-32)
 Dzsigoku Fúkei (地獄風景, Bepillantás a Pokolba, 1931-32)
 Kjófu Ó (恐怖王, A terror királya, 1931-32)
 Jócsú (妖虫, A gyanús bogár, 1933-34)[14]
 Dai Ansicu (大暗室, A nagy sötét szoba, 1936)
 Júrei tó (幽霊塔, Kísértet torony, 1936) Ez a mű Alice Muriel Williamson A Woman in Grey című műve alapján készült, amit Kuroiva Ruikó (黒岩涙香) fordított le 1901-ben japán nyelvre.
 Idainaru Jume (偉大なる夢, A nagyszerűség álma, 1943)
 Dzsúdzsiro (十字路,Útkereszteződés , 1955)
 Petensi to Kúki Otoko (ぺてん師と空気男, Az imposztor és a hétköznapi férfi, 1959)

Novellák

 Ni-szen Dóka (二銭銅貨, Két-szen réz érme, angol cím: The Two-Sen Copper Coin, 1923. április)
 Icsi-mai no Kippu (一枚の切符, Egy darab jegy, 1923. július)
 Oszorosiki Szakugo (恐ろしき錯誤, A rettenetes hiba, 1923. november)
 Ni Haidzsin (二癈人, Két rokkant ember, angol cím: Two Crippled Men, 1924. június)
 Szószeidzsi (双生児, Az ikrek, angol cím: The Twins, 1924. október)
 Nikkicsó (日記帳, A napló, 1925. március)
 Szoroban ga Koi o Kataru Hanasi (算盤が恋を語る話, Az abakusz a szerelemről mesél, 1925. március)
 Akai heja (赤い部屋, Vörös szoba, angol cím: The Red Chamber, 1925. április)
 Tónan (盗難, A rablás, 1925. május)
 Hakucsúmu (白昼夢, Álmodozás, angol cím: The Daydream, 1925. július)
 Jubiva (指環, A gyűrű, 1925. július)
 Mujúbjósa no Si (夢遊病者の死, Az alvajáró halála, 1925. július)
 Hjaku-menszó Jakusa (百面相役者, A száz arcú színész, 1925. július)
 Hitori Futajaku (一人二役, Dupla szerep, 1925. szeptember)
 Givaku (疑惑, Kétség, 1925. szeptember-október)
 Ningen Iszu (人間椅子, Az emberi szék, angol cím: The Human Chair, 1925. október)
 Szeppun (接吻, Csók, 1925. december)
 Odoru Isszun-bósi (踊る一寸法師, A táncoló törpe, angol cím: The Dancing Dwarf, 1926. január)
 Dokuszó (毒草, Mérgező füvek, angol cím: Poison Weeds, 1926. január)
 Fukumen no Butósa (覆面の舞踏者, Az álcázott táncos, 1926. január-február)
 Haikagura (灰神楽, Hamufelhő, 1926. március)
 Kaszei no Unga (火星の運河, Csatorna a Marson, angol cím: The Martian Canals, 1926. április)
 Oszei Tódzsó (お勢登場, Oszei megjelenése, angol cím: The Appearance of Osei, 1926. július)
 Monoguramu (モノグラム, Monogram, 1926. július)
 Kagami-dzsigoku (鏡地獄, Tükrök pokla, angol cím: The Hell of Mirrors, 1926. október)
 Hitodenasi no Koi (人でなしの恋, Az embertelen szerelme, 1926. október)
 Mokuba va Mavaru (木馬は廻る, A hintaló vágtája, 1926. október)
 Imomusi (芋虫, A pillangó, angol cím: The Caterpillar, 1929. január)
 Osie to Tabi-szuru Otoko (押絵と旅する男, Az utazó a megragasztott rongyos képpel vagy A brokát portréval utazó férfi, angol cím: The Traveler with the Pasted Rag Picture aka The Man Traveling with the Brocade Portrait, 1929. augusztus)
 Musi (虫, Rovar, 1929. június-július)
 Mera Hakasze no Fusigi na Hanzai (目羅博士の不思議な犯罪, Dr. Mera rejtélyes ügyei, angol cím: Doctor Mera's Mysterious Crimes, 1931. április)
 Oni (鬼, Démon, 1931. november-1932. február)
 Hinavadzsú (火縄銃, Kovás puska, 1932. április)
 Zakuro (石榴, Gránátalma, 1934. szeptember)
 Dangai (断崖, A kőszirt, angol cím: The Cliff, 1950. március)
 Bókúgó (防空壕, Az óvóhely, angol cím: The Air Raid Shelter, 1955. július)
 Horikosi Szósza Ikkacsó-dono (堀越捜査一課長殿, 1956. április)
 Cuma ni Sicuren-sita Otoko (妻に失恋した男, A férfi, aki összetörte felesége szívét, 1957. október-november)
 Jubi (指,Az ujj, 1960. január)

Nyugati krimi regények adaptációi

 Ryokui no Oni (緑衣の鬼, A zöld ruhás démon, angol cím: The Demon in Green, 1936)  Eden Phillpotts: The Red Redmaynes  adaptációja
 Júki no Tó (幽鬼の塔, A fantom tornya, angol cím: The Phantom's Tower, 1936) Georges Simenon: The Hanged Man of Saint-Pholien adaptációja
 Szankaku-kan no Kjófu (三角館の恐怖, Terror a háromszögletű teremben, angol cím: Terror in the Triangle-Hall, 1951) Roger Scarlett: Murder among the Angells adaptációja

Esszék

 The Horrors of Film (A film horrorja, 1925)
 Spectral Voices (Kísérteties hangok, 1926)
 Confessions of Rampo (Rampo vallomása, 1926)
 The Phantom Lord (A fantom nagyúr, 1935)
 A Fascination with Lenses (Elragadtatás lencsékkel, 1936)
 My Love for the Printed Word (Szerelmem a nyomtatott szavak iránt, 1936)
 Fingerprint Novels of the Meiji Era (Ujjlenyomat-regények a Meidzsi-korból, 1950)
 Dickens vs. Poe (1951)
 A Desire for Transformation (Vágyakozás az átalakulásra, 1953)
 An Eccentric Idea (Egy bizarr ötlet, 1954)

Ezt a tíz esszét a The Edogawa Rampo Reader (Az Edogava Rampo olvasó) tartalmazza.

A popkultúrában

 A rendező Isii Teruo Horrors of Malformed Men (Torz emberek horrorja) című 1969-es munkája sok Ranpo ihlette elemet tartalmaz. 1976-ban Tanaka Noboru filmre vitte a Jane-ura no Szanposat (Lesvadász a tetőn) Nikkacu Roman porno című sorozatának részeként.
 A CLAMP manga csoport Edogava Ranpot inspirációként használta a Man of Many Faces (Sok arcú ember, 1990–1991) című sorozatához.
 Dzsisszodzsi Akio filmjei a Watcher in the Attic (Lesvadász a tetőn, 1992) és a Murder on D Street (Gyilkosság a D. utcában, 1998) Ranpo munkáinak adaptációi. Akecsi Kogorot mindkét filmben Simada Kjúszaku játssza.
 1994-ben egy Rampo című film is megjelent Japánban. (Az amerikai címe The Mystery of Rampo). A film főszereplője Ranpo, akit Takenaka Naoto játszik.
 Ranpo néhány története is meg lett filmesítve a 2005-ös Rampo Noir című gyűjteményben, amiben az ismert Aszano Tadanobu játszik.
 Barbet Schroeder 2008-as filmje, az Inju: The Beast in the Shadow  Ranpo egyik 1928-as novellájának az adaptációja.
 A horror mangaka Maruo Szuehiro Ranpo jét történetét is feldolgozta: a The Strange Tale of the Panorama Island-et (2008) és a The Caterpillart (A pillangó, 2009).
 2009-ben a japán Google főoldala megváltoztatta a logóját, ezzel megemlékezve az október 21-ei születésnapjára.
 A Detective Conan (Meitantei Conan) című anime és manga sorozat főszereplőjének álneve "Edogawa Conan", ami a Sir Arthur Conan Doyle és az Edogava Ranpo nevekből lett összerakva. A detektív neve, akivel együtt él Mouri Kogoro, és Conan tagja egy gyerekekből álló detektívcsoportnak, a Detective Boysnak (Sónen Tanteidan); mindezt a néhai Ranpo tiszteletére.
 A Bungo Stray Dogs című anime és manga egyik szereplője Edogava Ranpo, aki hihetetlenül tehetséges a rendőrségnek nehezére eső bűnügyek megoldásában és egyéb rejtélyekben. Szerinte van egy különleges képessége, a "Szuper Következtetés", de igazából ő is csak egy a kevés, különleges képességgel nem rendelkező Fegyveres Nyomozó Iroda tag közül.
 A Fuji Television (フジテレビ) 2013-as (ビブリア古書堂の事件手帖, Biblia Kosodó no Dzsiken Tecsó, Biblia Antikvár Könyvesbolt ügyiratai, angol cím: Antiquarian Bookseller Biblia's Case Files) című sorozatának utolsó két része (a 9. és a 10.) Edogava Ranpo két munkájára épül: A Detektív Fiúk Klubjára és a Brokát portréval utazó férfire (ami Az utazó a megragasztott rongyos képpelnek is fordítható).
 A Bungou to Alchemist nevű online játékban benne van Ranpo, mint egy a sok író közül, akiket a játékosok megkaphatnak. A játékben egy furcsa emberként van ábrázolva, aki utálja az átlagos dolgokat és élvez új vicceket, jóindulatú tréfákat kitalálni és terveket, amikkel legyőzhetik az ellenséget.

Források

 Kurodahan Press Egy kiadó, amely megjelentetett Ranpotól két kötetet regényeiből és esszéiből. Lásd a listát feljebb.
 Ranpo vs. Rampo a Kurodahan Press kiadó oldalán
 Edogawa Ranpo az Encyclopedia of Science Fictionban
 Edogawa Rampo az Internet Speculative Fiction Databaseben
 Edogawa Ranpo, The Japanese Edgar Allan Poe - Paperback Paris

Japán költők, írók
Krimiírók
1894-ben született személyek
1965-ben elhunyt személyek

redpajama_set_name: RedPajamaWikipedia


text: Q: Function tied to ng-click which applies style change to div element only fires properly after page has been refreshed I am using AngularJs and jQuery.  I have a div element on my page which encompasses other div elements that represent tabs for school subjects.  Only four subjects are to be displayed at a time.  There are arrows to either side of this parent div which when pressed will change the style of the parent div so that its left property will shift 100% in the appropriate direction.  This shift reveals the next 4 (or fewer) subjects.  The arrows have the ng-click directive as an attribute which is tied to a function that uses the .css() jQuery method to accomplish this style change.  The issue I'm having is that the function won't fire initially.  However, if I refresh the page all functionality works just fine.  What could be happening after the refresh which would allow everything to work properly?

redpajama_set_name: RedPajamaStackExchange


The equities markets are at record highs, consumer confidence is strong, and even restaurant operators remain upbeat about the next six months according NRA's January Restaurant Performance Index. But the more than 50 economic forecasting groups queried monthly by Blue Chip Economic Indicators apparently aren't getting the message. In the March survey, the consensus forecast for real growth of gross domestic product for 2017 remained at 2.3% for the fourth consecutive month, while that for 2018 held at 2.4% for the third consecutive month.
The long-range Blue Chip forecasts have not improved much from the group's last long-range consensus forecasts released in October. The real GDP forecast for 2019 held at 2.1%, but dropped a tenth-point for 2020 from October.
The forecast for two indicators critical to foodservice—disposable personal income and personal consumption expenditures—did improve marginally for 2018 and 2019 but remain in the 2.1% to 2.5% range in real terms. The forecast for real PCE in 2017 fell slightly to 2.6% in from 2.7% in last month's survey.


The compatible Okidata C830 black toner cartridge (44059112) replaces Okidata C830 Toner Cartridge and is compatible with Okidata C830 series printers. The product yields 8,000 pages at 5% coverage. Our compatible Okidata units come with a 100% satisfaction guarantee.
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The compatible Okidata C830 magenta toner cartridge (44059110) replaces Okidata C830 Toner Cartridge and is compatible with Okidata C830 series printers. The product yields 8,000 pages at 5% coverage. Our compatible Okidata units come with a 100% satisfaction guarantee.
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The Okidata C830 is a color laser printer that comes with a monthly duty cycle of 75,000 pages. The Okidata C830 printer can print up to 30 pages per minute for color documents and 32 pages per minute for monochrome documents. Its speed is definitely suitable for a busy, growing office.
The Okidata C830 printer supports various media types including spreadsheets, posters, booklets, labels for CD or DVDs, postcards, and banners. On top of regular paper trays, there is also an optional second input tray that can store paper with a maximum size of 8.5x14 inches.
There are four toner cartridges for the Okidata C830 printer – black, cyan, yellow, and magenta. Each toner unit can print up to 8,000 pages at 5% coverage. Users can seek for high quality re-manufactured cartridges at an affordable price to further save on printing expenses. In fact, a well made compatible cartridge should work as well as name brand counterparts. In addition, the use of compatible Okidata C830 cartridges does not void the printer warranty.


Select a state for ordering information and options.
Most states' and many regions' toll agencies have their version of an electronic toll sticker or transponder that may be used to pay your tolls without having to use cash. In most jurisdictions, the use of an electronic transponder will result in lower toll costs, as many agencies discount the toll rates for toll pass users. The discounts can be substantial for regular haulers and commuters, who may need to use a specific road or group of roads on a consistent basis.
An agency-issued sticker or transponder is affixed to the windshield of the vehicle, typically adjacent to the rear-view mirror, so that transponder equipment, located both in the asphalt and in overhead gantries, can read the unit's ID number and vehicle type as the driver passes beneath the tolling gantry.
When you order a transponder and prepare to use it in your vehicle, you will be required to set up a toll pass account with the state or regional agency that issues the transponder. This involves providing your information, your vehicle information, the transponder number to be used in the vehicle, as well as any payment information that may be required by the agency, often a credit or debit card.
Often, families will have more than one vehicle and, consequently, more than one pass on their account. Most agencies permit more than one transponder to be assigned to an account, but only one vehicle may be assigned to a transponder ID at any given time.
To get specific information about your state or regional toll pass agency, as well as account information, simply select your state in the menu or the drop-down form.


EXCLUSIVE: Manuel Garcia-Rulfo, who recently signed with WME for agency representation, has been cast in Soldado, the follow-up to 2015's Sicario that stars Benicio Del Toro and Josh Brolin. Stefano Sollima is directing this lastest installment for Lionsgate and Black Label Media with a script from Taylor Sheridan.
The sequel sees the return of Alejandro Gillick (Del Toro), the shadowy, Man on Fire-like protagonist, and CIA agent Matt Graver (Brolin), who in the first film established themselves as hellbent on hunting down cartel bosses. Garcia-Rulfo will play Gallo, a dangerous and sadistic kingpin.
Garcia-Rulfo was on the big screen in Antoine Fuqua's The Magnificent Seven, and his other credits include the Robert Rodriguez's From Dusk Till Dawn: The Series and Carl Franklin's Bless Me, Ultima. Garcia-Rulfo will continue to be managed by LBI Entertainment.


text:
Q: GWT: Prevent Javascript minification In GWT, the javascript that is generated from the GWT compiler is super optimized an unreadable. It would be quite helpful it there is a way to avoid this and obtain human readable javascript code.
Is there a config or any other way to prevent GWT from minifying the generated JavaScript for debugging purposes?

A: When you compile the GWT project there is an option "Output Style" with the options Obfuscated,Pretty,Detailed. Choosing pretty would do the trick.


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Zillmere Denture Clinic has been providing a caring, friendly and professional denture service for more than 23 years to the people of Brisbane and its surrounds. Our Dental Prosthetist Denise Toovey is passionate about the care she gives her patients. Whether it be new dentures or a simple denture repair, you can relax knowing you have found a denture clinic that is committed to providing a service in your best interests.


Items where Subject is "Marine Fisheries > Computer simulations"
Swathi Lekshmi, P S and Balasubramani, N and Chandrakandan, K and Renganathan, C R and Karthikeyan, C and Saradha, C H (2009) Computer simulation modeling for prediction of the extent of adoption of shrimp culture technologies (This paper is the part of the Ph.D thesis which got Jawaharlal Nehru Award 2006 for Outstanding Research in Social Sciences. Indian Research Journal of Extension Education, 9 (2). pp. 100-104.
This list was generated on Thu Apr 25 07:13:11 2019 IST.


The Saoradh chairman Brian Kenna during the stop-and-search in Dungiven.
The national chairman of the hardline republican group, Saoradh, was subject to a stop-and-search in Dungiven on his way back to Dublin following a meeting in Derry, the party has complained.
Saoradh said the Dubliner, who recently succeeded Tyrone-man Davy Jordan as the party's national chairman, was stopped by six armed police officers in the County Derry town last Monday.
National Executive member, Paddy Gallagher, said: "Despite the deafening silence of former comrades....Saoradh stand firm in our opposition to the current harassment, intimidation and political repression of our party membership.


"Common Grace" and "Well-Intended Offer"
Could you answer these questions please?
Does the OPC officially adopt the doctrine of Common Grace (as explained by the CRC Synod of 1924)?
Does the OPC officially adopt the "well intended offer" (God desires to save all who hear the external call)?
Does the OPC officially embrace presuppositional apologetics (Van Til) over against the classical apologetics (Sproul, Hodge)?
The answer to each of these questions—with the word "officially" in them—is "no."
First, our confessional standards do not use the term "Common Grace" (nor do they include the 1924 statement of the Christian Reformed Church or CRC), and the concept of Common Grace does not appear to be present in our standards either. This means that, since our confessional standards define what we are committed to in terms of church discipline and what we expect ministers to preach, someone who does not embrace a common grace view can be approved and received. But the vast majority of our ministers and teachers hold to a doctrine of common grace (ordinarily that espoused in the writings primarily of John Murray and Cornelius Van Til rather than Abraham Kuyper and the CRC).
that the report of the Committee and the minority report on the "Free Offer of the Gospel" be sent down to the presbyteries and sessions for earnest study.
Note: General Assembly reports (whether from a committee or its minority) are thoughtful treatises but they do not have the force of constitutional documents—the Westminster Standards or the Book of Church Order. They should not be construed as the official position of the OPC.
The report in question, often taken as setting forth "the well-intended offer of the gospel" both a majority report (by (Arthur Kuschke and Professors John Murray and Ned Stonehouse) and a minority report (by William Young and Floyd Hamilton, questioning some of the exegesis and conclusions of the majority).
Third, though I believe that a presuppositional approach to apologetics is most consistent with the Westminster Confession of Faith, Chapter 1, Van Til's views are not officially enshrined in our constitution. A number of OPC ministers whom I know personally espouse the views of John Gerstner and R. C. Sproul or Francis Schaeffer rather than Cornelius Van Til. So not being committed to Van Til's approach has not necessarily been a bar to passing exams for licensure, ordination, or reception. I would say, however, that it is the majority view by far, and Candidates and Credentials Committees in the presbyteries probably would encourage candidates to give further serious consideration to their apologetic views if they are evidentialists rather than presuppositionalists.


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THE ARTS AND MUSIC SCENE
"There isn't a major venue in the city that doesn't benefit from your graduates' skills. Your contribution is applauded and recognised."
– Joe Anderson OBE, Mayor of Liverpool
As 2008 European City of Culture, Liverpool gained a platform to shake its cultural tail feather, undergoing a successful rejuvenation. Boasting not only a world-class musical heritage, but award-winning theatres and art galleries, it's clear to see why Liverpool is such a rewarding place to be studying the creative disciplines of performance, and making performance happen.
Pages in this section: Life at LIPA | Term Dates | SEB (Student Event Board) | Accommodation | What's Liverpool Like? | The Arts and Music Scene | Finding Part-Time Work | Student Support
Music
Music has played a vital role in putting Liverpool on the world's cultural map, and our reputation is growing. In 2015, Liverpool became one of just two cities in the UK to be named a UNESCO City of Music, already having been recognised as 'World Capital of Pop' by the Guinness Book of Hit Singles for producing more number one records than anywhere else.
Music takes its place here in every corner of the city. Intimate evenings at The Cavern host emerging artists in the same room that witnessed the first gigs of the Fab Four back in the 60s. Liverpool can go big too, with the 10,000 seat M&S Bank Arena welcoming the likes of international superstars Beyoncé, Muse and Calvin Harris.
Fostering the British love of these sometimes muddy but always memorable events, Liverpool plays an important role in the festival scene. The annual Sound City festival is the brainchild of a former LIPA staff member, providing us with great links for students and graduates, who regularly work their magic both onstage and behind-the-scenes. The nearby festival Creamfields was also born in Liverpool, originating at Cream Nightclub, before it blossomed into the world-renowned event it is today.
"The British Music Experience Is Heading To Liverpool"! Headlining the official website, we can't help but be excited about the fantastic opportunities just around the corner for our students and graduates. This summer, following our suggestion as their official Educational Partner, the BME has moved from London's O2 arena to open on Liverpool's waterfront. The British Music Experience is the UK's Museum of Popular Music; a place where visitors can relive the moments that helped put British music on the map; a place that will boost Liverpool's growing reputation as a vibrant heart for all things musical.
Image ©Tony Hisgett
As a Performing Arts Institution, it's only right that the theatres of our city inspire and nurture creative talent. Thankfully, we're in luck. Whether you're watching a performance, part of a performance, or making a performance possible, there's no shortage of exciting venues to do it in. What's more, you'll reap the rewards from our long-standing connections to all of them.
The Empire Theatre regularly welcomes the best in West End Touring Productions, while The Royal Court puts on around eight home-grown comedies a year, sometimes featuring our graduates. The Everyman and Playhouse theatres have built their reputations on staging bold productions of original and classic plays, and just round the corner from us, the Unity Theatre welcomes tours from exciting UK theatre companies, as well as several LIPA shows.
Whether you want to laugh, cry, dance or sing along, the eclectic group of Liverpool Theatres unites the city in an immersive, accessible experience for all. The best part is, LIPA students or graduates have in some way made their mark on every single one.
Art and History
Liverpool's art is not limited to its galleries, but can be found saturating many of its street. Liverpool is home to the Biennial Festival of Contemporary Art – a story of fictional worlds showcased in galleries, public spaces, disused buildings and online, which draw from Liverpool's past, present and future. This all-encompassing approach to art reflects Liverpool's progressive culture, and its flawless blend of the ages. This idea is reflected in the vast collection at The Walker Art Gallery, ranging from Renaissance to present day art.
If you prefer modernity, you can soak up the cutting-edge contemporary art at the Tate's national collection of modern art in the north, where work of some of the world's most celebrated artists is displayed, such as Tracey Emin and Jackson Pollock. At the Open Eye Gallery, you can muse on an impressive collection of photography dating back to the 1930s as well as regular exhibitions from international photographers. At the Bluecoat, you'll find four galleries housing a creative community of artists and businesses showcasing an exciting array of contemporary visual art, music, dance and literature, with lots of opportunities to get involved. At FACT, the UK's leading media arts centre, you can wonder at ground-breaking new media art from across the world, or catch the latest in independent and mainstream film.
If you're still hungry for culture, Liverpool's museums don't disappoint. At the International Slavery Museum, Merseyside Maritime Museum and the newer Museum of Liverpool (to name but a few) you can take a walk through time, places, traditions – you name it. The fact is, you'll never be bored in Liverpool.
Image ©Trevor Owens
Film and TV
Last year, 366 different film and TV projects were shot in Liverpool (a figure that's set to rise with work underway on post-production facilities and sound stages in the city). These included the Danny Boyle and Richard Curtis film Yesterday and TV dramas Peaky Blinders (BBC), The Crown (Netflix) and Victoria (ITV). In addition to the work of the Liverpool Film Office, independent production companies such as Lime Pictures are flourishing locally, while cutting edge arts organisations such as FACT and Liverpool Biennial showcase the best of international film, visual art and digital media. With a large-scale redevelopment underway of the iconic Littlewoods building into studios and a post-production facility, creative technologies in Liverpool have never been stronger.
Liverpool's digital and creative sector has grown significantly since 2011, blooming into a collective of four and a half thousand businesses employing 22,000 people by 2016; an increase of 144% ( TechNation Report 2018). These include award-winning gaming studio Milky Tea, immersive tech specialists Draw and Code and design and software experts Red Ninja. The Liverpool City Region Activate programme supports continued growth with a £5m accelerator providing advice and funding for digital, creative and ' createch' businesses to drive growth. Metro Mayor Steve Rotherham has also been vocal about his support for Liverpool's digital development: "Liverpool has always been an international destination for tourism, sport and culture – and now we are harnessing that inventive streak to become an international centre for creative and digital business."

redpajama_set_name: RedPajamaCommonCrawl


The logistics automation market is estimated to be USD 46.22 billion in 2018 and is projected to reach USD 80.64 billion by 2023, at a CAGR of 11.8% during the forecast period. The growth of the logistics automation market can be attributed to the exponential growth of the e-commerce industry, advancements in robotics, and the emergence of IoT. However, lack of uniform governance standards and high capital investments are acting as key restraints to the growth of the logistics automation market.
Based on component, the warehouse & storage management segment is estimated to lead the logistics automation market in 2018. The growth of the warehouse & storage management segment can be attributed to the implementation of smart technologies, such as IoT and robotics, in various industries to enhance warehouse operations.
Based on organization size, the large enterprises segment is estimated to account for a larger share of the logistics automation market as compared to the SMEs segment in 2018. Large enterprises are focused on automating logistics functions to save cost, reduce market delivery time, and improve operational efficiency.
Based on region, the logistics automation market has been segmented into North America, Europe, Asia Pacific (APAC), the Middle East & Africa (MEA), and Latin America. The rising adoption of logistics automation solutions by enterprises in emerging economies, such as India and China, is driving the growth of the logistics automation market in the Asia Pacific region.
The logistics automation market has been segmented on the basis of component, organization size, vertical, and region. Based on component, the logistics automation market has been segmented into warehouse & storage management and transportation management. Based on organization size, the market has been segmented into large enterprises and Small & Medium-sized Enterprises (SMEs). Based on vertical, the market has been classified into retail & e-commerce, manufacturing, oil, gas & energy, pharmaceuticals & healthcare, logistics & transportation, automotive, aerospace & defense, food & beverage, chemicals, and others (BFSI, IT & telecommunication, hospitality, education, paper, printing, and textiles). Based on region, the logistics automation market has been segmented into North America, Europe, Asia Pacific, the Middle East & Africa, and Latin America.
The report will assist market leaders/new entrants by providing them the closest approximations of revenues of the logistics automation market and its subsegments. It will also help stakeholders better understand the competitor landscape, gain more insights to position their businesses, and implement suitable go-to-market strategies. The report will assist stakeholders to understand the pulse of the market and provide them with information on key market drivers, restraints, challenges, and opportunities.
*Details on Business Overview, Solutions, Software, and Services Offered, Recent Developments, SWOT Analysis, and MNM View might not be captured in case of unlisted companies.


a female who wants to own everything they get their paws on, or lay their greedy grendetta eyes on. This includes Christmas presents and boyfriends.
person 1: "Where the hell are the rest of my gifts?!"
person 2: "Don't be such a Greedy Grendetta!"
Get a Greedy Grendetta mug for your dog Larisa.


We're teaching youth how to make a difference in their communities.
Eat Smart Move More South Carolina (ESMMSC) is partnering with the 7th Episcopal District of the AME Church on the Healthy Young People Empowerment (HYPE) Project. This partnership will allow up to 10 Young People's Division (YPD) Youth Teams to work on projects in their churches or communities that will increase access to healthy foods or physical activity.
ESMMSC will fund HYPE Project mini-grants in amounts up to $1,000 beginning in February 2019. The mini-grants will be used to fund healthy eating and active living projects that support policy, systems, and environmental (PSE) changes.
All applicants must be an active YPD in the 7th Episcopal District of the AME Church. All grant applicants MUST be willing to work on projects related to healthy eating and/or active living and projects that promote or support a PSE change.
All AME churches in the 7th Episcopal District of the AME Church are encouraged to apply and will be considered regardless of their level of engagement with youth and health-related activities.
Laurens County: Created safer routes to school by advocating for flashing light sign and improved crosswalk. Revitalized an abandoned ballfield.
Orangeburg County: Made improvements to local parks and advocated for tobacco-free policy for public places, including parks.
Kershaw County: Worked with local parks and recreation concessions manager to offer healthy snacks and beverages during games.
Anderson County: Hosted a park clean-up. Added ADA-compliant sidewalk and ADA-compliant play equipment.
7th Episcopal District YPD Director Dr. Ila McFadden at ilamcfadden554@gmail.com or 843-260-6233.


text:
audix i5 for vocals
the sm57 gets more use as one due to its heritage. The dynamic mic is a durable product that you can trust to make use on the road or for studios. The SM57 is designed into a cardioid pickup pattern which helps to ensure the main sound is clear and any background noise is reduced to the barest minimum. The i5 is more natural sounding and less compressed than the SM57. When used to live, it also does well with instruments and vocals. You don't say if it's an acoustic or an elec. In my opinion the Audix i5 is a great vocal mic for me in my band, but everyone has a different situation. It's solid build and reliable performance make this dynamic mic a typical first-choice for anyone. Only a few microphones can compare with the reputation which the Shure 57 has. Which musical instrument would you like to master, if given the chance? If Audix, an OM5 or OM7 for vocals , depending on the type of music (the 5 requires you to sing tighter to the mic). The i5 is more natural sounding and less compressed than the SM57. Because of my love of recording, I am forced to experiment due to the need to be creative, and this process often begins with mic choice and mic placement; so it s absolutely essential I try different things. It would be wrong not to experiment, and risk losing other alternatives down the line, so I threw the i5 on my voice for a rehearsal last night. Both of them are top picks and you would enjoy your choice. fairly frankly, enormously plenty each venue i've got ever performed, no count if bar or club, has had 'em. When used to live, it also does well with instruments and vocals. The mic is a cardioid microphone and has a frequency response of 50 Hz to 16 kHz. Dynamic vocal microphones are the most popular type of vocal microphone for live performances because of their durability, flexibility, pattern control and cost. It's also a great choice for high-volume amplifiers. Dynamic mics allow for a good vocal recording, have an impressive aesthetic appeal and are placed on shock mounts. Oh, and the i5 actually sounds great on vocals too! Because the i5 is smaller, it's easier to fit into tight spaces that may be otherwise cumbersome for the SM57. Audix dynamic instrument microphones are widely used by sound engineers and musicians throughout the world. Yeah I would go with the Audix i5. It's solid build and reliable performance make this dynamic mic a … It would work to set up a dynamic mic as a "room mic" and just see what you get - but usually the pick-up pattern is way too close to the mic to be useful in that way. It's not really sensitive enough for vocals. Get your answers by asking now. This makes it a great choice for recording loud instruments such as drums. Because the i5 is smaller, it's easier to fit into tight spaces that may be otherwise cumbersome for the SM57. However, the Audix i5 compares favorably to it. or do I need two, because I really don't want to buy another one, and I dont have the money either.. No - for vocals what you want is a tight response dynamic (not condenser) mic. You will never, ever go wrong purchasing a Shure SM58 for your vocals, and an SM57 for your guitar or to mic up an amplifier. You can sign in to vote the answer. - You need those to mix in and make the sound "real" . How do you think about the answers? It's capable of handling SPLs as high as 140 dB, so you can be sure that the noise will not get to this mic and it will perform well. The i5 is able to handle sound pressure levels in excess of 140 dB without distortion and can be used to mic a wide variety of musical instruments, guitar and bass cabinets, vocals and speech. There are more expensive Shure mics now - but trust me - a 58 for vocals and a 57 for utility work and you'll be in great shape. - but then you'll also need some mics you can set up for "room mics" - or if you're recording a gig - to mic the crowd and the room as well as the band. The only real difference is the ball "pop" filter on the 58. And the fee is around one hundred$. i've got seen them dropped, thrown at a drummer (completely smart, of direction), had beer spilled on them, and so on, and nevertheless artwork merely advantageous. Between 1986 and 1989, Audix broke new ground with the OM Series of vocal microphones with VLM™ (Very Low Mass) technology. What you'd need there is a very sensitive condensor mic . ? Buyers and musicians can expose it too long hours of use. The reason behind its popularity is the fact that people can trust on this dynamic mic to do its job and offer the best quality of sound when used with either vocals and instruments. Taking a look at both dynamic mics, the quality of both is quite obvious. The i5 is also a very competent vocal mic for stage use, while those studio singers who prefer the solid sound of a dynamic model may choose to use it that way in the studio. The price of this microphone is quite similar to that of the sm57. 1) How close? You'll need separate mics for voice, instrument, etc. Won't sound the best but will be good enough for scratch takes, demos, etc. Despite the cheap price of the mic, the Audix i5 is known to pack quite a number of features that easily make it stand out. response is optimized for the workhorse applications - drums, miccing speaker cabinets, etc. Shure SM57 is the common for the two stay and studio recording for electric powered guitars. Physically the i5 doesn't fail but is design is pretty basic. I told the guy I wanted a mic that would do vocals, guitar, and both at the same time. But you'll find this masterpiece more in recording studios. Absolutely it will work. The SM57 is an industry faithful and has been trusted for years.
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Home > Blog > Tuning > Novitec tunes the Lamborghini Aventador SV
Novitec tunes the Lamborghini Aventador SV
May 24, 2016 October 4, 2018
The Lamborghini Aventador SV is the latest supercar to get the Novitec treatment, turning this already flamboyant and exclusive car into an even more extreme, performance focussed machine. The Aventador Superveloce receives a full carbon aero package, an engine tune, brand new centre-locking wheels, a sports exhaust, lowered suspension and interior customisation.
The Novitec Full Conversion Kit makes the already thrilling Lamborghini Aventador SV even more powerful, lightweight, faster and individual, and here's how:
Novitec offers a performance upgrade for the LP 750-4 Superveloce by mapping the engine electronics and installing a high-performance exhaust system. This bumps the peak output of the 6.5-litre 12-cylinder engine from stock 750 horsepower to 578 kW / 786 hp at 8,400 rpm. Peak torque grows simultaneously to 738 Nm at 5,900 rpm.
The exhaust system uses a fascinating 'three-and-a-half' tailpipe design as the two central pipes are combined – it really does provide a huge improvement over the look of the stock exhaust. The exhaust can be ordered in stainless steel, or in Inconel, with or without valves and even with more efficient sport catalysts and a remote if wanted. The exhaust upgrade offers both performance gains and up to 21kgs of weight-saving over the factory original.
Novitec had a job to do improving on the already sporty looking Aventador SV, but they've managed to create a racing look through development of their high quality carbon fibre components in the wind tunnel. All parts provide higher aerodynamic efficiency and lend the Superveloce an even more aggressive expression.
On the front there's a new spoiler, central front blade and side air intakes, plus there are air ducts and outlets incorporated in the bonnet to further reduce lift on the front axle and therefore improve handling. There are a set of side panels and air intakes along the sides which help give the SV shape, as well as directing cool air into the rear radiators.
The rear of the car has substantial changes as well. One cannot help but notice the presence of the prominent rear spoiler, which has been developed with a lowered centre section to optimize directional stability at high speed. The newly developed engine air vents and roof air scoop also provide the engine bay with additional air to help it cool.
As a first for Novitec, they have partnered up with American wheel giants Vossen to create an exclusive set of NL3 forged, centre locking wheels that are available in a vast array of colours and finishes.
The two companies jointly designed these wheels with six delicate spokes that taper off towards the edge of the rim in the form of a widely spread Y. The design of the spokes takes up the lines and angles of the bodywork and the tail lamps of the Aventador. To emphasize the wedge shape of the mid-engine supercar, the front wheels are manufactured in a 20" diameter, while the rear rims were designed as 21" wheels.
The Novitec sport springs are tailor-made for the new wheels. They lower the ride height of the Superveloce by about 35mm and further optimize handling as a result of the consequently lowered centre of gravity. The front lift function is preserved even with the ride-height lowering.
Novitec Torado offers individuality in its purest form for the interior of the Lamborghini Aventador SV as well. The cockpit can be redesigned in every last detail with the finest leather, Alcantara and carbon in practically any desired colour so that owners can have a totally individual interior to their car.
Scuderia Car Parts is the Exclusive UK Distributor of Novitec products, so if you are interested in enquiring about the full Lamborghini Aventador SV Novitec conversion, or any of the individual parts, then please get in contact with our knowledgeable and friendly sales team on +44 (0)1784 603125 or fill out an enquiry form HERE.
Tagged 2016, Aventador, Aventador SV, Lamborghini, Lamborghini Aventador SV, Novitec, Novitec Torado, Scuderia Car Parts, Tuning
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Q: non analytic functions Find two functions, each of which is nowhere analytic, but whose sum is an entire function.
I can give examples of functions that are analytic nowhere, but can't find two that add to an entire function.

A: $f_1(z) = \operatorname{re} z$, $f_2(z) = i\operatorname{im} z$.
Then $f_1(z)+f_2(z) = z$.

A: Silly example: let $f: \mathbb{C} \to \mathbb{C} $ be nowhere analytic. Then if $g: \mathbb{C} \to \mathbb{C} $ is analytic, $g(z)-f(z)$ is also nowhere analytic. But
$$ f(z) + (g(z)-f(z)) = g(z), $$
which is analytic.


text:
Media Quotes of the Week: From 2020 round-up of the journalists jailed and murdered worldwide to xenophobic headlines won't go away after Brexit
Reporters Without Borders in its round-up of journalists detained, held hostage and missing around the world: "The number of detained journalists is still at a historically high level. Worldwide, a total of 387 journalists were held in connection with the provision of news and information at the start of December 2020, compared with 389 at the start of December 2019. This lack of variation follows a 12% rise in 2019. Overall, the number of detained (professional and non-professional) journalists has risen 17% in the past five years (from 328 in 2015)."
Committee to Protect Journalists in its annual report revealing 274 journalists were jailed globally in 2020: "President Donald Trump's harsh rhetoric throughout his term, including calling critical reports 'fake news,' gave cover to authoritarians to crack down on journalists in their own countries. Globally, 34 journalists were jailed for 'false news'."
CPJ executive director Joel Simon in a statement: "The record number of journalists imprisoned around the world is President Trump's press freedom legacy. The incoming Biden administration must work as part of a global coalition to bring the number down."
The International Federation of Journalists in a statement: "The year 2020 will go down in history as the year of an unprecedented global pandemic crisis, but also as the year of the resurgence of murders of journalists and media staff around the world. With 60 murders in 2020, the macabre statistics are on the rise again compared to 2019 (49). Organised criminal cartels, extremists' insurgencies and sectarian violence continue to strike terror among journalists, scores of who have paid the ultimate price for independent reporting in the four corners of the globe."
Ex-News of the World editor Andy Coulson interviewed in The Sunday Times [£]: "There's something called 'editoritis.' The main symptom is that you believe yourself to be the centre of the world. That everything else revolves around you. And I definitely suffered from editoritis."
The Sunday Times [£] in a leader: "Peter Cruddas, a spread-betting tycoon, sued The Sunday Times after our Insight team reported in 2012 that, while Tory co-treasurer under David Cameron, he had corruptly offered access to the prime minister and other senior ministers in return for donations. Although Mr Cruddas won the first round, the legal fight ended badly for him in 2015 when three appeal court judges said it had been "inappropriate, unacceptable and wrong" to offer top-level access to undercover reporters posing as potential party donors whose motives for seeking confidential meetings with Mr Cameron were explicitly commercial. That he should now become Baron Cruddas, against the advice of the House of Lords appointments commission, taints the Conservative Party."
Financial Times editor Roula Khalaf in InPublishing: "This is the story of the media during the pandemic. If you have a subscriptions business, then your subscriptions business has done well. People want to read more so there is a real vote of confidence in the news business during the pandemic."
Nishant Lalwani and James Deane on the BBC Media Action Insight Blog: "The grim reality of the COVID-19 crisis means that many countries around the world may be facing a future with no independent journalism at all, precisely at a time when access to reliable information can be a matter of life and death...Earlier concerns that the pandemic might prove to be an existential threat to media are proving well founded. If this is allowed to happen, the democratic and development costs will be immeasurable. We call on international donors and policy makers to recognise the urgency of this challenge and mount a meaningful international response."
Alan Rusbridger in the Observer: "The BBC is not perfect. It was loathed by both sides during the drawn-out agony of the Brexit referendum. Everyone knows that its funding model needs reform. But many other countries, knowing the same thing, have already moved to different kinds of funding. Only in the UK has a government chosen this moment of information chaos – with other ways of sustaining serious journalism in dire trouble – to toy with the idea of ditching the concept of news as a public service. I suspect that Boris Johnson, who spent his entire journalistic career gleefully throwing stones through greenhouse windows, has little idea of what true public service news looks like. The rest of us should worry."
Max Hastings in The Times [£]: "In the 21st century only a handful of countries can afford to indulge the luxury of nationalism and it is doubtful that we are among them. It would be nice to think that, now the deal is done, xenophobia would be banished from the headlines of name-calling newspapers and that we could once again treat our European neighbours with the respect they deserve. This is unlikely, however. Tensions will be reignited each time an EU summit makes new decisions on trade, environmental and health standards, and much else. These will perforce affect us but we shall have no power to influence them. Accusations will continue to fly that we are being 'bullied' and 'blackmailed' by Frogs, Wops and Huns. And yes, such contemptible words will be used, perhaps by the prime minister."
David Yelland on Twitter: "Here's a tip: Place unread copies of this weekend's ridiculous flag-waving Brexit newspapers in a sealed bag and read them this time next year. They will look utterly mad. They are wrong on almost every single aspect of Brexit reality."
My Media Quotes of the Year 2020 are up on InPublishing which you can read here. I've tried to capture the best media-related quotes from a year dominated by the coronavirus crisis, which while driving huge media audiences played havoc with advertising, sales revenues and jobs. As well as the coronavirus crisis the quotes cover Trump, Boris and Cummings, Harry and Meghan, magazines, newspapers, the BBC and press freedom.
Labels: Alan Rusbridger, Andy Coulson, Committee to Protect Journalists, Max Hastings, Reporters Without Borders, Roula Khalaf
Media Quotes of the Year 2020: InPublishing
My Media Quotes of the Year 2020 are up on InPublishing which you can read here. I've tried to capture the best media-related quotes from a year dominated by the coronavirus crisis which while driving huge media audiences played havoc with advertising, sales revenues and jobs. As well as the coronavirus crisis the quotes cover Trump, Boris and Cummings, Harry and Meghan, magazines, newspapers, the BBC and press freedom.
Quotes of the Week: Raid on journalists' homes could cost police £3 million to Joe Biden urged to make press freedom a focus of US foreign policy
RTE reports: "Two journalists inappropriately arrested over material that appeared in a documentary on a loyalist gun attack during the Troubles have settled their case against the Police Service of Northern Ireland. It is understood the PSNI has agreed to pay damages to Trevor Birney and Barry McCaffrey and delete material it seized when officers raided their homes and offices in August 2018. Mr McCaffrey and Mr Birney were arrested over the alleged theft of a police watchdog document that appeared in their film No Stone Unturned about the Loughinisland massacre. Last year, judges ruled search warrants used by police to search the journalists' home and their offices at Fine Point Films been 'inappropriate'."
The Times [£] reports: "The settlement is understood to comprise £150,000 for Mr Birney, £125,000 for Mr McCaffrey and £600,000 for their Fine Point Films company."
Trevor Birney told The Times [£]: "It is a fairly conservative estimate that this escapade by Durham and the PSNI will end up costing the police £3 million. The PSNI have apologised and paid damages today but in court they have had a full legal team fighting us step by step — it took a long time for the penny to drop that they were in the wrong. There should be a wider look at press freedom in Northern Ireland. There has been a tendency for action to be taken against journalists when the state doesn't like them poking their noses into sensitive issues."
Seamus Dooley, NUJ assistant general secretary, in a statement after two journalists working for the Sunday World were threatened: "Once again NUJ members have received serious threats from loyalist paramilitaries and criminals intent on silencing journalism in Northern Ireland. These attempts to intimidate journalists must be condemned in the strongest possible terms. We welcome the fact that the journalists concerned have received the full support of their employer. The protection of journalists and the active pursuit of those who threaten the media is essential to a functioning democratic society. The PSNI is fully engaged with both journalists and we hope that every effort will be made to ensure the continued safety of our members, their families and their colleagues."
Digital Secretary Oliver Dowden in the Telegraph on the new Digital Markets Unit regulatory regime for big tech companies like Facebook and Google: "We're going to tackle the devastating knock-on effects that anti-competitive practices have had on our vitally important newspaper industry, which were outlined in the Cairncross Review. At the moment, tech giants can impose terms on news publishers that limit their ability to monetise their content — severely impacting their ability to thrive. Our code will make sure publishers get a fair deal from the platforms on which they rely, so that we can support the sustainability of one of the world's strongest news publishing sectors."
John Naughton in the Observer: "Citizens of most UK towns and cities now have much less information about what's happening in their localities than their grandparents did, no matter how assiduously they check their Facebook or Twitter feeds. And the quality of local democratic discourse has been accordingly impaired. The tech companies are not wholly to blame for these changes of course. But they have played a significant role in undermining the institutions whose business model they vaporised. Looked at from that perspective, it seems wholly reasonable that societies should require social media companies to contribute to the support of news organisations that democracies require for their functioning and survival."
Michelle Stanistreet, NUJ general secretary, in a statement: "The House of Lords Communications and Digital Committee report correctly identifies the need for the tech giants to be brought to book for their stranglehold on the media industry and the unfair competition for advertising revenue. An Australian-style model to make these platforms pay for the content they presently help themselves to would be welcome...But there is scope to be much bolder. A levy of tech giants would provide the means to support innovation and plurality and help this industry out of the crisis caused by the pandemic and towards better health. A more strategic body – such as a Journalism Foundation – is needed to increase media plurality, champion public interest journalism and rebuild the present broken media model."
BBC News reports: "Facebook will begin paying UK news publishers for some articles with the launch of Facebook News in January. The feature adds a dedicated news tab to the Facebook app, and has already launched in the United States. Facebook said it will 'pay publishers for content that is not already on the platform' and prioritise original reporting."
BBC media editor Amol Rajan commets: "This initiative crosses a commercial rubicon. The company has always directed traffic back to publishers, but this is the first time that Facebook will pay news publishers for their work."
Facebook says: "The first group of publishers featured in Facebook News in the UK includes Archant, Conde Nast, The Economist, ESI Media, Guardian Media Group, Hearst, Iliffe, JPI Media, Midland News Association, Reach, STV and others."
Press Gazette reports: "Carole Cadwalladr has insisted she will continue to defend her reporting against a libel case brought by prominent Brexiteer Arron Banks despite withdrawing the defence of truth. Instead the Observer journalist has said she will pursue a "robust" defence on public interest grounds when the case goes to trial next year. Cadwalladr has been ordered to pay £62,000 in costs to Banks after withdrawing her defences of truth and limitation just one day before the next hearing in the case was scheduled to take place."
Donald Trump on Twitter: "I gave a long news conference today after wishing the military a Happy Thanksgiving, & realized once again that the Fake News Media coordinates so that the real message of such a conference never gets out. Primary point made was that the 2020 Election was RIGGED, and that I WON!"
Trump snapping at Reuters reporter Jeff Mason at the news conference: "Don't talk to me that way. You are a lightweight. I'm the president of the United States. Don't ever talk to the president that way."
The Committee to Protect Journalists in a proposal to President-elect Joe Biden: "By designating the promotion and protection of press freedom as a focus of U.S. foreign policy, President Biden has the opportunity to restore American influence in a critical area; improve the flow of information to advance U.S. strategic, political, and economic interests and those of its democratic allies; and ensure the internet remains a shared global resource. However, this can only be achieved if defense of press freedom is a matter of principle, and not expediency."
Labels: Amol Rajan, CPJ, Facebook News, John Naughton, Michelle Stanistreet, Oliver Dowden, Sunday World, Trevor Birney and Barry McCaffrey Carole Cadwalladr, Trump
Media Quotes of the Week: From 2020 round-up of th...
Media Quotes of the Year 2020: InPubli...
Quotes of the Week: Raid on journalists' homes cou...


text:
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text:
Q: Javascript inheritance using prototype, what is a practical way? I've been reading up on inheritance in Javascript and have come up with creating constructors and defining each constructors prototypes. I've created a prototypeExtend function that will loop through each constructors prototypes and add them to the main constructors prototypes.
Is this a practical way to achieve inheritance?
function prototypeExtend() {
    var cMain = arguments[0].prototype;
    for(var i=1; i<arguments.length; i++){
        var cTemp = arguments[i].prototype;
        for(var k in cTemp){
            if(cTemp.hasOwnProperty(k)){
                cMain[k] = cTemp[k];
            }
        }
    }
    return cMain;
}

function Class1 () {}
Class1.prototype = {
        el1:null,
        fun1:function(str){
            console.log(str + " from Class1");
        },
        setEl1:function(value){
            this.el1 = value;
        },
        getEl1:function(){
            return this.el1;
        }
}

function Class2(){}
Class2.prototype = {
        el2:"blah",
        fun2:function(str){
            console.log(str + " from Class2");
        }
}

function Class3(){}
Class3.prototype = {
        el3:"dah",
        fun3:function(str){
            console.log(str + " from Class3");
        },
        fun1:function(str){
            console.log(str + " from Class3");
        }
}
prototypeExtend(Class2, Class1, Class3);
var obj = new Class2;
console.log(obj);

A: In this state, I can think of something that you might not have see. You're giving default values to your objects's properties directly in the prototype description. Remember that objects (and functions) will be passed by reference thus these properties will be static, if I can refer to Java. Any change to the object will impact every other references.
You will also have to change your code when you need to override functions and still have use the parent's one.
If your goal is to develop your own library then keep that in mind and go on ! ;)
In any way, you should take a look at what others do on the web. I've personally been using classjs and it did the job for me !

A: Here are nice examples of prototypal vs functional inherritance
http://artandlogic.com/2012/07/prototypal-vs-functional-inheritance-in-javascript/
It seems to be a very opinion based question so there is no wrong or right. I personaly like the prototypal approach alot.
EDIT1: Also check out Douglas Crockford - he has his own implementation and is a javascript guru many people follow
http://javascript.crockford.com/prototypal.html
I hope this pointed you in the right direction


text:
import six
from ..util import Util
from .client import Client
from .product import Product
from .facility import Facility
from .models.model_icon import Model_Icon
from .models.model_server import Model_Server
from .models.model_disk import Model_Disk
from .models.model_appliance import Model_Appliance
from .models.model_archive import Model_Archive
from .models.model_commonserviceitem import Model_CommonServiceItem
from .models.model_isoimage import Model_IsoImage
from .models.model_iface import Model_Iface
from .models.model_swytch import Model_Swytch
from .models.model_router import Model_Router
from .models.model_bridge import Model_Bridge
from .models.model_ipv6net import Model_Ipv6Net
from .models.model_script import Model_Script
from .models.model_license import Model_License
import saklient

str = six.text_type
# module saklient.cloud.api

class API(object):
    ## さくらのクラウドAPIクライアントを利用する際、最初にアクセスすべきルートとなるクラス。
    #
    # @see API.authorize

    # (instance field) _client

    ## @return {saklient.cloud.client.Client}
    def get_client(self):
        return self._client

    ## @ignore
    client = property(get_client, None, None)

    # (instance field) _product

    ## @return {saklient.cloud.product.Product}
    def get_product(self):
        return self._product

    ## 商品情報にアクセスするためのモデルを集めたオブジェクト。
    product = property(get_product, None, None)

    # (instance field) _facility

    ## @return {saklient.cloud.facility.Facility}
    def get_facility(self):
        return self._facility

    ## 設備情報にアクセスするためのモデルを集めたオブジェクト。
    facility = property(get_facility, None, None)

    # (instance field) _icon

    ## @return {saklient.cloud.models.model_icon.Model_Icon}
    def get_icon(self):
        return self._icon

    ## アイコンにアクセスするためのモデル。
    icon = property(get_icon, None, None)

    # (instance field) _server

    ## @return {saklient.cloud.models.model_server.Model_Server}
    def get_server(self):
        return self._server

    ## サーバにアクセスするためのモデル。
    server = property(get_server, None, None)

    # (instance field) _disk

    ## @return {saklient.cloud.models.model_disk.Model_Disk}
    def get_disk(self):
        return self._disk

    ## ディスクにアクセスするためのモデル。
    disk = property(get_disk, None, None)

    # (instance field) _appliance

    ## @return {saklient.cloud.models.model_appliance.Model_Appliance}
    def get_appliance(self):
        return self._appliance

    ## アプライアンスにアクセスするためのモデル。
    appliance = property(get_appliance, None, None)

    # (instance field) _archive

    ## @return {saklient.cloud.models.model_archive.Model_Archive}
    def get_archive(self):
        return self._archive

    ## アーカイブにアクセスするためのモデル。
    archive = property(get_archive, None, None)

    # (instance field) _iso_image

    ## @return {saklient.cloud.models.model_isoimage.Model_IsoImage}
    def get_iso_image(self):
        return self._iso_image

    ## ISOイメージにアクセスするためのモデル。
    iso_image = property(get_iso_image, None, None)

    # (instance field) _iface

    ## @return {saklient.cloud.models.model_iface.Model_Iface}
    def get_iface(self):
        return self._iface

    ## インタフェースにアクセスするためのモデル。
    iface = property(get_iface, None, None)

    # (instance field) _swytch

    ## @return {saklient.cloud.models.model_swytch.Model_Swytch}
    def get_swytch(self):
        return self._swytch

    ## スイッチにアクセスするためのモデル。
    swytch = property(get_swytch, None, None)

    # (instance field) _router

    ## @return {saklient.cloud.models.model_router.Model_Router}
    def get_router(self):
        return self._router

    ## ルータにアクセスするためのモデル。
    router = property(get_router, None, None)

    # (instance field) _bridge

    ## @return {saklient.cloud.models.model_bridge.Model_Bridge}
    def get_bridge(self):
        return self._bridge

    ## ブリッジにアクセスするためのモデル。
    bridge = property(get_bridge, None, None)

    # (instance field) _ipv6_net

    ## @return {saklient.cloud.models.model_ipv6net.Model_Ipv6Net}
    def get_ipv6_net(self):
        return self._ipv6_net

    ## IPv6ネットワークにアクセスするためのモデル。
    ipv6_net = property(get_ipv6_net, None, None)

    # (instance field) _script

    ## @return {saklient.cloud.models.model_script.Model_Script}
    def get_script(self):
        return self._script

    ## スクリプトにアクセスするためのモデル。
    script = property(get_script, None, None)

    # (instance field) _common_service_item

    ## @return {saklient.cloud.models.model_commonserviceitem.Model_CommonServiceItem}
    def get_common_service_item(self):
        return self._common_service_item

    ## 共通サービス契約にアクセスするためのモデル。
    common_service_item = property(get_common_service_item, None, None)

    # (instance field) _license

    ## @return {saklient.cloud.models.model_license.Model_License}
    def get_license(self):
        return self._license

    ## ライセンスにアクセスするためのモデル。
    license = property(get_license, None, None)

    ## @ignore
    # @param {saklient.cloud.client.Client} client
    def __init__(self, client):
        Util.validate_type(client, "saklient.cloud.client.Client")
        self._client = client
        self._product = Product(client)
        self._facility = Facility(client)
        self._icon = Model_Icon(client)
        self._server = Model_Server(client)
        self._disk = Model_Disk(client)
        self._appliance = Model_Appliance(client)
        self._archive = Model_Archive(client)
        self._iso_image = Model_IsoImage(client)
        self._iface = Model_Iface(client)
        self._swytch = Model_Swytch(client)
        self._router = Model_Router(client)
        self._bridge = Model_Bridge(client)
        self._ipv6_net = Model_Ipv6Net(client)
        self._script = Model_Script(client)
        self._common_service_item = Model_CommonServiceItem(client)
        self._license = Model_License(client)

    ## 指定した認証情報を用いてアクセスを行うAPIクライアントを作成します。
    #
    # 必要な認証情報は、コントロールパネル右上にあるアカウントのプルダウンから
    # 「設定」を選択し、「APIキー」のページにて作成できます。
    #
    # @static
    # @param {str} token ACCESS TOKEN
    # @param {str} secret ACCESS TOKEN SECRET
    # @param {str} zone=None ゾーン名
    # @return {saklient.cloud.api.API} APIクライアント
    @staticmethod
    def authorize(token, secret, zone=None):
        Util.validate_type(token, "str")
        Util.validate_type(secret, "str")
        Util.validate_type(zone, "str")
        c = Client(token, secret)
        ret = API(c)
        return ret.in_zone(zone) if zone is not None else ret

    ## 認証情報を引き継ぎ、指定したゾーンへのアクセスを行うAPIクライアントを作成します。
    #
    # @param {str} name ゾーン名
    # @return {saklient.cloud.api.API} APIクライアント
    def in_zone(self, name):
        Util.validate_type(name, "str")
        ret = API(self._client.clone_instance())
        suffix = ""
        if name == "is1x" or name == "is1y":
            suffix = "-test"
        ret._client.set_api_root("https://secure.sakura.ad.jp/cloud" + suffix + "/")
        ret._client.set_api_root_suffix("zone/" + name)
        return ret

redpajama_set_name: RedPajamaGithub


text:
All the Lovers - International Feature Film Competition
Laura Bispuri
Laura Bispuri won the David di Donatello Award with her debut short Passing Time (2010), while Biondina (2011) won her the Nastro d'Argento. Sworn Virgin, her first feature film, took part in the Berlin Festival contest in 2015 and was awarded the Nora Ephron Prize at Tribeca Film Festival, the Golden Gate New Directors Prize in San Francisco, the Firebird in Hong Kong, the FIPRESCI award in Cracow and a Globo d'oro. With her following film Figlia mia (2018), which was in competition at the Berlin festival, she also won prizes and recognition in festivals worldwide
Iaia Forte
Born in Naples, Iaia Forte graduated from the Experimental Center of Cinematography. She debuted as a stage actress with Toni Servillo. She made her debut on the big screen with the movie "Libera" by Pappi Corsicato, and also acted in "I buchi neri", "I Vesuviani", "Chimera", "Il volto di un'altra", by the same director. In cinema, she has also worked with M.Nichetti, M. Ferreri, T. De Bernardi, M. Martone, M. Risi, Peter Greenaway, V.Golino, winning two Nastro d'argento, a Golden Globe, a Ciak d'oro and the Agis prize. She was one of the leading characters in the Oscar-winning movie "The Great Beauty" by P. Sorrentino. In 2019 she will star in a TV series, directed by Pappi Corsicato, for RAI UNO, the national Italian TV network.
Neri Marcoré
Neri Marcoré launched his career in radio and in the nineties' he began to work for Rai, the national Italian TV network, performing in many successful shows. He then acted on stage and in 1996 he made his debut on the big screen with Ladri di cinema by Piero Natoli. The turning point of his career came in 2003 with the acclaimed character in Il cuore altrove by Pupi Avati. He later worked again with Avati in the movies La seconda notte di nozze (2005) and Gli amici del Bar Margherita (2009). Besides being a skilled, sensitive and ironic actor, he is also appreciated as a singer.
Among his successful TV series are Tutti pazzi per amore and Questo nostro amore.
Real Lovers - International Documentary Competition
Luca Paladini
Luca Paladini, 48, is from Milan. He has been in a civil partnership with another "Luca" for almost two years. He has a worthy passion for commitment to the community and a less worthy one for the Inter Milan soccer team. He has been a city councilor for ten years and deputy president of a human rights commission. He is the founder and spokesperson of the Movimento dei Sentinelli, a secular, anti-fascist group created in autumn 2014 which has fought many battles and demonstrated in many squares about issues relating to civil and human rights.
Bartholomew Sammut
In 2000 Bartholomew Sammut was awarded the Most Promising New Filmmaker Award at the Warner Roadshow New QLD Filmakers Awards. He then worked for the Australian TV channel SBS. As a director, he has filmed many shorts that have been released all over the world. In addition to his work as a director, in 2006 he founded the XPOSED International Queer Film Festival of Berlin, which he still directs and curates. In 2009, he began a cooperation with the Berlin International Film Festival for the section called Panorama. In 2019, he was a member of Berlin International Film Festival Series Selection Committee. He is now working on his first feature film.
Hamilton Santià
Hamilton Santià (1986) works in the field of communication sciences and writes about politics and culture on many websites and magazines, such as Linkiesta, Esquire, Vice. In the past he was a music critic for the magazine Mucchio Selvaggio. He has a PhD in History of the Cinema from the University of Turin, studying the relationship between style and consumption in the Indie culture of America at the beginning of the 21st century.
Irregular Lovers - International Iconoclastic Competition
Leonardo Caffo
Leonardo Caffo teaches theoretical philosophy at Politecnico of Turin. He is professor of Curating, Magazine
Design and Phenomenology of the Visual Arts at Naba, the New Academy of Fine Arts in Milan. A regular contributor to the Italian newspapers Corriere della Sera, Domus and L'Espresso, he isalso a presenter on Radio 3, the editor of the interdisciplinary research platform Waiting Posthuman Studio and the artistic director and the co-founder of Walden Milano. He also teaches at the Scuola Holden in Turin, Made Program in Siracusa and is the editor for the experimental journal of philosophy Animot. L'altra filosofia. He has written several books (about 20), including A come Animale (2015) and Costruire Futuri (2018), both published by Bompiani, La vita di ogni giorno (2016), Fragile Umanità (2017) and Vegan (2018) published by Einaudi.
Carolyn Christov-Bakargiev (Ridgewood, New Jersey, USA, 1957), is the director of the Castello di Rivoli Contemporary Art Museum and the Fondazione Francesco Federico Cerruti foundation in Turin.. She was awarded the Audrey Irmas Award for Curatorial Excellence 2019. In 2016, she directed the Castello di Rivoli Contemporary Art Museum e GAM (2016-2017) simultaneously. She has organized exhibitions and written books about Fabio Mauri (1994), Alberto Burri (1996), Franz Kline (2004), Pierre Huyghe (2004), Giovanni Anselmo (2016), Ed Atkins (2016), Wael Shawky (2016), Anna Boghiguian (2017), Nalini Malani (2018) and Hito Steyerl (2018-2019). She has been Visiting Professor at Northwestern University since 2013
Photo credit: Giorgio Perottino
Luca Pacilio is the editor of an online cinema magazine called "Gli Spietati" and also a contributor to the weekly magazine "Film TV" for which, among other things, he writes the column ''Videostar'', dedicated to directors and stars of contemporary music videos. He is the author of Il videoclip nell'era di YouTube – Cento videomaker per il nuovo millennio ( Bietti, 2014) and Lo zoo di Venere ( Gremese, 2019)
Future Lovers - International Short Film Competition
Jury and tutor of the Jury
Andrea Panero Geymet
He had a liberal education and he graduated in Historic Philosophy. He starts as a socio-cultural animator, where he matures a long experience in organization, administration and management of international projects. He specialised in non-formal education and research theories about young people and he was also trained for eurodesign. He is an expert in management and dynamics about groups with a specialization in under30s. Right now he is the coordinator of a project about audience development at the Polo del '900. He has always been passionate about cinema.


text:
Q: Mathematica 10 doesn't support path containing Chinese characters Bug introduced in 10.0 and fixed in 10.0.2

I tried to import file in Mathematica 10 ( windows 7 system), the path contains some chinese characters. After holding ctrl+shift, and drag the file into front end. I got path like

c:\\Users\\m&p\\Desktop\\桌面\\test.txt

But after running
Import["c:\\Users\\m&p\\Desktop\\\:684c\:9762\\test.txt"]

Mathematica 10 gives error message as follows:

Import::nffil: File not found during Import.

What should I do to make mathematica 10 support path containing Chinese characters?

A: In Mathematica 10.0.0 for Windows, I have experienced similar problems.
When non-ASCII characters were placed after \ in a string, they were decoded in a strange way. (Character '\' is used as a path separator in Windows).

ToCharacterCode["\\a", "Unicode"](*OK*)
{92, 97}

ToCharacterCode["\\", "Unicode"](*OK*)
{92}

ToCharacterCode["μ", "Unicode"](*OK*)
{956}

ToCharacterCode["\\μ", "Unicode"](*Strange!*)
{92, 92, 58, 48, 51, 98, 99}

"μ" in this expample can be some Chinese/Japanese characters.
It makes a severe problem because this sometimes happens in file path
such as "C:\MyData\μ-channel\" in Windows.
You could avoid this problem by using "c:/MyData/μ-channel/".


Discovery shares fell 5.5 percent on Feb. 16, a day before South Africa's biggest health insurer said it expected a fall of as much as 55 percent in first-half profit.
Discovery immediately reported the unexpected share price move to the Johannesburg Stock Exchange (JSE) who in turn notified the Financial Services Board (FSB), chief financial officer Richard Farber said.
"We are co-operating fully with the FSB in their inquiry," he told Reuters.
The head of FSB's directorate of market abuse, Solly Keetse, said the regulator would disclose the details of the investigation when the report was complete.