Philkade is a modern, five star motor vessel specifically designed for long-range luxury cruising.
The cabins are superb, especially the Deluxe / Master cabin which has panoramic seaviews across the whole bow - a fantastic sight when you pull back the curtains on another glorious, sunny morning on the Andaman Sea. The cabin is so large it even has plenty of space to have its own sofa. The cabin also features TV and DVD player entertainment for your surface interval relaxation, a King-size bed, intercom system, personal safe for your valuables and complimentary flowers. The Deluxe cabin and Superior cabins also have their own private bathrooms, complete with toilet and hot water shower. All the cabins are air-conditioned with individual cabin control; all are spacious, well-appointed and made up daily.
The huge indoor air-conditioned saloon is one of the boat's main features. Finished in teakwood, leather and granite, the huge lounge gives Philkade the feel of a Super Yacht. You can show off your latest photos or videos on the home theatre system. The sundeck and dive deck areas are equally expansive, and with its novel flybridge, there's oceans of space for your comfort.


text:
The Gallerist February 9, 2022 Articles, Blog
Ideal Feminine | The Goddess In Art
At the dawn of history, God was a she—or so it appears. Our paleolithic forebears, thirty or more millennia ago, conceived of Nature or the Divine as a cosmic female. They delighted in immortalizing her image on cave walls and in the form of statuettes carved out of stone, bone, ivory, or coal. Undoubtedly, they also used more perishable materials to depict the Great Mother, though these did not survive the ravages of time. The belief in the universal Female was deeply ingrained and vital. However, it underwent a significant transformation during the neolithic age. For, as human experience and conceptual capacities leaped forward, the Great Mother became increasingly personified. She was endowed with special characteristics, a personal if legendary history, and a name.
The Great Mother, or magna mater, appeared under different names in the villages of the Near East and Europe. We do not know her earliest names, but later, after writing had been invented, she was celebrated as Inanna in Sumer, Ishtar in Babylon, Anath in Canaan, Astarte in Phoenicia, Isis in Egypt, Nu Kua in China, Freya in Scandinavia, and Kunapipi in aboriginal Australia. Thus, the Goddess became multiple, while retaining the universality that had been associated with her for countless generations. Each Goddess, while having her own name and distinct attributes, was hailed as the source of life, the life-granting power behind vegetation and fertility.
Her splendor was celebrated in many myths, and her favor was sought and her wrath appeased through numerous rituals. The Goddess was still supreme but no longer alone, for people's imagination and religious feeling had made room for other personifications of the sacred reality. These included a virile male God, who was, however, at least temporarily still subordinate to the Goddess. Further anthropomorphic thought yielded the notion of the male deity as a lover of the great Goddess.
Ideal Feminine – The Goddess In Art
The term 'Ideal feminine' is adopted here to refer to the construction of the mythic feminine as a personification of the philosophical notion of the 'Ideal'. According to Idealist epistemology, one can gain insight and knowledge of the Ideal through the contemplation of beauty as it is incarnate in the physical and is portrayed for example in paintings. The beauty of the feminine was understood to be a reflection of the Ideal and was thus understood to be the medium between the material order and the Ideal order of reality. An important implication of this is that the feminine was regarded as a guide between the two realms; conveying the artist or spectator from the physical to the metaphysical, from the natural to the spiritual and from earthly beauty to transcendental Beauty.
The image of the feminine is at the centre of many artworks which are constructed in dream-like 'Ideal' interiors or in Ideal landscapes or forests at twilight. The image of the feminine in these works, usually bathed in an etheric atmosphere of nostalgia, solitude and silence, evoke the theme, as will be suggested in this article, of the feminine as soul, the embodiment of spiritual knowledge.
The contemplation of a work of art affords an escape from the intolerable aspects of the material world. More specifically it is the realisation of the element of beauty in that object which, through the Platonic Idea it embodies, facilitates the transcendence of material reality. Schopenhauer's aesthetic expresses an idea basic to all idealist theories of beauty that: 'When we say a thing is beautiful… we mean that we recognise in the object, not the particular thing, but the Idea'. Ernst Caro, whose writings on Schopenhauer were instrumental in making accessible his philosophy to the Symbolists, expressed succinctly this component of Schopenhauer's thinking and indicated, furthermore, the aspect of transcendentalism implicit in this position:
The object no longer exists, it is the idea that exists, the eternal form; and the subject likewise has been raised to a higher plane, has liberated himself: he is free from time, free from Will, free from striving, free from desire, free from pain: he participates in the absolute, in the eternity of the idea, he is dead to himself, he no longer exists other than in the ideal. This being so, of what importance are the conditions and forms of his transitory individuality?.. there is only pure intuition, a free vision of the ideal, a momentary participation in Plato's idea, in Kant's numen, once one has attained this forgetfulness of one's transitory life, of the role one plays in it and of the everyday torment thus momentarily suspended.
The attempt to transcend the world of material reality constituted an intellectual effort to elevate oneself from the particular to the general and from the concrete to the abstract. This was attempted through the contemplation of the Beautiful which in itself constituted an attempt to draw the eternal from the transitory and hence to participate in immortality – much the same was attempted through the aesthetics of eroticism and death. In other words the attempt to disincarnate, to escape the limitations of the body (matter and the material realm generally) resembles a wish to die in so far as death can be perceived as the deliverance of the soul from the prison of the body. Moreover, the significance of the notion of Ideal Beauty in the Idealist tradition lies in the fact that it is the expression and manifestation of the primal source of existence. This is an idea expressed clearly in the writings of Plato and especially Plotinus.
The early philosophy of Plotinus is related to that of Schopenhauer in as far as he posits an Ideal realm which is regarded as true Reality. Plotinus expands the Idealist discourse on reality to include the notion of the 'All-One', that is, an abstract state of original unity towards which the individual soul is destined to return and which is seen, furthermore, as the highest condition of the Ideal Realm. The All-One, moreover, has various synonyms such as the All Good and Absolute Beauty. Furthermore, it constitutes the first hypostases in the differentiation of the All Being, the construct for ultimate reality. The second hypostasis is the Intellect, or Nous (Mind) wherein is contained the Platonic Ideas that constitute the intelligible world and the third hypostasis is the World Soul, or All Soul which animates nature and mediates between the material realm and the realm of eternal Ideas. The three hypostasis are in fact three aspects of a single transcendental being from which all reality proceeds by emanation and towards which all reality aspires to return to its primal source.
It was within the framework of the above threefold constitution of reality that Plotinus constructed his metaphysics of beauty. Plotinus poses the question: 'What is it that attracts the eyes of those to whom a beautiful object is present, and calls them, lures them, towards it, and fills them with joy at the sight?' An object, he claims, is made beautiful by 'communicating in the thought that flows from the Divine'. In other words, the beauty of an object is derived from the Ideal-Form it embodies, an idea which would later be central to Schopenhauer's aesthetic. This beauty is ultimately the reflection of the 'Beyond-Beauty', the 'Authentic-Beauty', as he terms it, or the One. This, according to Plotinus, is the principle that ultimately bestows beauty on all material things and he states, moreover, that: 'Undoubtedly this Principle exists, it is something that is perceived at first glance, something which the Soul names as from an ancient knowledge, and recognising, welcomes it, enters into unison with it.'
Plotinus believes, in other words, that a correspondence therefore exists between the object of beauty and the transcendent, archetypal principle it embodies. The attraction to the beauty of an object is therefore, in reality, the attraction to that transcendental beauty: 'Our interpretation is that our Soul – by the very truth of its nature, by its affiliation to the Noble Existents in the hierarchy of Being – when it sees everything that is kin or any trace of that kinship, thrills with an immediate delight, takes its own to itself and thus stirs anew to the sense of its nature and of its affinity.'
A notion of the Absolute beauty can be grasped, moreover, since it is communicated from its primal state through the various orders of reality, through the three hypostases, to the sensual world. What is perceived as beautiful in the sensual world is only thus in so far as it is a reflection of the Absolute Beauty which is communicated through it:
And this beauty, which is also the Good, must be posed as the First: directly deriving from this first is the Intellectual-Principle which is pre-eminently the manifestation of Beauty; Through the Intellectual-Principle, Soul is Beautiful. The beauty in things of a lower order – actions and pursuits for instance – comes by operation of the shaping soul which is also the author of the beauty found in the world of sense. For the soul, as divine thing, a fragment as it were of the Primal Beauty, makes beautiful to the fullness of their capacity all things whatsoever that it grasps and moulds.
Finally, art is thus seen as the embodiment of the Ideal-Beauty, or the One: 'Art, then, creating in the image of its own nature and content, and working by the Idea, or Reason-Principle of the beautiful object it is to produce, must itself be beautiful in a far higher and purer degree since it is the seat and source of that beauty indwelling in the art, which must naturally be more complete than any confines of the external.' The notion of Ideal Beauty was central to the Symbolists' aesthetic. This has been emphasised in the literature on Symbolism.
In Symbolist art the image of the Ideal feminine was the embodiment and personification of this Ideal Beauty. The view that art was the means through which one could gain access to the realm of the Ideal was fundamental to Symbolist aesthetics. In the words of the Symbolist author and critic, Emile Vehaeren, 'the effect of art, of our art is an influence of a vague attraction towards a melancholy, grave ideal'. In symbolist metaphysics, this was also the function of the Ideal feminine, as muse, who acted as guide or psychopomp between the realm of the 'real' and the Ideal. This idea is present in the poetry of Baudelaire, for example, The Living Torch. It is in the eyes of the beloved, the muse, through which the poet is guided to the Ideal, to Beauty: eyes that, '…clearly shine, / Magnetic with an Angel's spell they blaze…They light my way to Beauty like a torch'. The muse as spiritual guide leads the poet eventually to the Awakening to the Ideal:
Ils célèbrent La Mort, vous chantez le Réveil; Vous marchez en chantant le réveil de mon âme, Astres dont nul soleil ne peut flétrir la flamme.
Moreover, in the Idealist tradition, the mechanism of this translation from one reality to another, from the material to the spiritual, is achieved through the principle of (Ideal) Love. This idea is emphasised in the philosophy of Plato. Plato also posited a principle of Absolute reality, equivalent to Plotinus' 'One' and Schopenhauer's 'World of Representation'. Plato also suggests that the purpose of existence is the search for and attainment of this Ideal condition. Moreover, he expresses the notion that this is possible by means of a gradual ascent through an ascending hierarchy of stages. The fundamental character of this Ideal realm is based on the principle of beauty. The ascent through various levels of experience constitutes an increasing awareness of the character of the idea of Ideal Beauty, which manifests itself in various degrees at each level of the ascending hierarchy.
Thus, the aspirant begins through the contemplation of physical beauty of which it should eventually be realised that: 'Physical beauty in any person is akin to physical beauty in any other, and that if he is to make beauty of outward form the object of his quest, it is a great folly not to acknowledge that the beauty in all bodies is one and the same.' In realising this, the aspirant passes on to the love of beauty of the soul which is to be regarded as more valuable than the beauty of the body, then, to love of beauty as it exists in activities and institutions – and then to morals and the sciences and knowledge generally. The final stage is the love and union with the Absolute (or Divine) Beauty – the ideal state of original wholeness and perfection. Plato defines the qualities of this condition:
This beauty is first of all eternal, it neither comes into being nor passes away, neither waxes nor wanes, next, it is not beautiful in part and ugly in part, nor beautiful here and ugly there, as varying according to its beholders; nor again will this beauty appear to him like the beauty of a face or hands or anything corporeal or like the beauty of a science, or like the beauty which has its seat in something other than itself, be it a living thing on the earth or in the sky or anything else whatever; he will see it as absolute, existing alone with itself, unique, eternal, and all other beautiful things partaking of it, yet in such a manner that while they come into being and pass away, it neither undergoes any increase or diminution nor suffers any change.
Moreover, in Plato's terms, it is through love that this spiritual transformation is possible. Love is the driving impulse that draws one to the state of Ideal Beauty and original unity through the 'desire' for and attraction to the beauty of that ideal condition. This idea is echoed in Plotinus who asserted that, 'the emotional state for which we make this 'Love' responsible rises in souls aspiring to be knit in the closest union with some beautiful object'. And furthermore he believed, 'It is sound… to find the primal source of Love in a tendency of the soul towards pure beauty'.The teleological climax of this longing and desire constitutes a form of 'spiritual procreation'.
In this regard, Plato writes:
'…there are some whose creative desire is of the soul, and who long to beget spiritually, not physically, the progeny which it is the nature of the soul to create and bring to birth. If you ask what that progeny is it is wisdom and virtue in general; of this all poets and such craftsmen as have found out some new thing may be said to be begetters.'
These ideas on transcendental beauty and metaphysical love are to be found in the thinking of Joséph Péladan. Péladan advocated the virtue of Ideal love and beauty as an aesthetic imperative:
It is fatal and illegitimate that our desire is awakened by beautiful forms: it is necessary to be subordinated to beautiful sentiments: it is better still if it submits to the supreme charm of beautiful ideas. However, aesthetically, to manifest an idea it is necessary to sentimentalise it by the expression: and the beauty of mystical ideas is expressed by the beauty of the forms… perversity would consist in addressing one's self to instinct, to animal emotions; but in that sense, the patriotic picture is an operation resembling that of a lascivious picture; both aim at the brutal portion of the public.
Moreover, Péladan believed, as did Plato and Plotinus, that physical beauty and love are reflections of Divine love and beauty and hence our attraction to the physical is actually the attraction to the Divine hidden in the physical (as in a work of art): 'The only poetic form comprehensible to all men is love; and within love they sense concupiscence above all. Faced with a work of art they comport themselves as if they were face to face with reality: This is no reason to clamour against sexual nudity, because it constitutes the intermediary which permits the common man to have suspicion of beauty.'
One of the central attributes of the ideal feminine, as personification of the Ideal, is its essentially spiritual nature. In other words, not only is the feminine seen as the personification of this interior spiritual realm of the Ideal but, moreover, the feminine is conceived as a spiritual force itself. This aspect of the feminine was expressed in various ways in Symbolist imagery. Most explicitly, this is expressed in the image of the Angel. This motif is fairly widespread in Symbolist art and is the subject of several prominent Symbolist paintings. The spiritual aspect of the mythic feminine is furthermore alluded to in the specific way the image of the feminine is constructed in Symbolist imagery: either in interiors which are altered in some way to suggest a different order of reality or, on the other hand, in landscapes or forests which are regarded as sacred precincts reflecting the internal spiritual realm. The image of the veiled feminine and the image of the Mother Goddess are further constructs which refer to the spiritual character of the positive feminine.
The notion that the feminine acts as a transpersonal force for the artist was a common theme in Romantic art and literature and continued into the Symbolist period. The image of the feminine in non-Realist art served as a vehicle for the expression of states of experience peculiar to the inner subjective realm of the imagination and the dream and embodied the essential philosophical principles which powered the non-Realist aesthetic programme, specifically, the fundamental opposition between Idealism and Materialism.
Today many seek the healing and empowerment of the Goddess. Our yearning for her presence and her blessings extends back to the origins of our being. We are hungry for a connection with the past, with ancient mysteries and the wisdom of lost cultures. This hunger stems from our own disconnection from relevant spiritual traditions, connection with the natural world, and with the tribe and community. In searching for our lost roots, we must embark upon the hero or heroine's journey. This quest for knowledge and inspiration will ultimately connect us with ourselves. It bring us into direct knowledge of self and source, the internal sanctuary wherein the Divine Feminine has always dwelt.
This article is an excerpt from the books:
The Divine Feminine in Ancient Europe : Goddesses, Sacred Women and the Origins of Western Culture, By (author) Sharon Paice MacLeod
The Mythic Feminine in Symbolist Art: Idealism and Mysticism in Fin-de-Siecle Painting by BRENDAN COLE
Posted in Articles, Blog and tagged Idealism, Philosophy. Bookmark the permalink.
Fantasy Paintings by Matthew Stewart
Paintings by Daria Kropacheva

redpajama_set_name: RedPajamaCommonCrawl


MANILA, November 19, 2004 (STAR) Weak loan growth and over $10 billion in non-performing assets are weighing on the Philippine banking sector, credit rating agency Standard and Poor's (S&P) said yesterday.
S&P said in a report the Philippine banking sector could be heading for tougher times as considerable levels of bad debts weigh heavily on asset quality.
"Although the country's economic growth remains on track, the Philippine banking system is weakly capitalized by international standards, and remains saddled with bad debts.
"Any unexpected deterioration in economic and industry conditions could strain the system severely," S&P credit analyst WeeKiat Sim said in the report.
He added that any ratings upgrade for Philippine banks will depend on the speed with which they address asset quality concerns and improve risk management practices.
The report, "Philippine Banking Industry Stable but Struggling Under Bad Debt Burden" said the banking sector remains shackled by large levels of non-performing assets (NPAs), with regulatory distressed assets of P601.5 billion as of March 2004.
The study, however, acknowledged that under the Special Purpose Vehicle Act of 2002, which provides incentives to banks to get rid of their problem loans, some banks are managing to off-load some of their debt.
From January to August 2004, successful transactions under the Act amounted to about 4.5 billion pesos.
In addition, the central bank is reviewing a further 44.5 billion pesos worth of transactions. Although SP expects asset quality to continue improving, a proposal to extend the deadline of the Act by another two years from April 2005 could slow down the pace of bad asset disposals.
SP's report said another challenge facing Philippine banks is weak loan growth, due in part to the reluctance of banks to lend for fear of aggravating their asset quality.
The patchy economic recovery in the Philippines has not provided sufficient opportunities for credit growth, and anaemic loans demand has led to intense competition in the overcrowded banking sector, the report said.
In 2003, bank loans grew a modest 3.7 percent.
"Due to high levels of NPAs, some banks may be hard-pressed to reflect better asset quality ratios through more aggressive loan growth. As a result, this could hurt the credit quality of their loans if rigorous credit assessments are not conducted.
"Given these concerns, it is imperative that the senior management of banks implement effective risk management systems and good corporate governance measures," Sim said.


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#ifndef ARLEIC_INCLUDE_GAME_HPP
#define ARLEIC_INCLUDE_GAME_HPP

#include <deque>
#include <memory>
#include <queue>

#include "game/Command.hpp"
#include "game/Entity.hpp"
#include "game/Map.hpp"

/// Namespace for the Roguelike engine
namespace arleic {

// Forward declare Gui, because Gui depends on Game
class PlayGame;
class Graphics;

/// The game itself (also known as the "engine")
class Game {
 public:
  /**
   * The default constructor
   */
  Game();
  /**
   * Add a command to the command stack
   * \param command A pointer to the command to be added
   */
  void AddCommand(Command::Type type);
  void AddMonster(int x, int y);
  bool isWalkable(int x, int y);
  Entity* GetMonsterAt(int x, int y);
  /**
   * Step the game forward by a single frame
   *
   * The UI controls the main loop.  The game is controlled by the Gui, so
   * the game can't run its own event loop.  This implements one update
   * within the game itself.
   */
  void Tick();
  /**
   * Render the gui to the screen.
   *
   * The game implements the visitor design pattern in order to render itself
   * to the screen without specifying any of the rendering details.  This
   * allows a decoupling of the game and its representation.  This also allows
   * the members of the game to be private, since this function exposes the
   * data members to the Gui's interface.
   * \param gui A pointer to the user interface (no ownership)
   */
  void Render(Graphics* graphics) const;
  /* XXX: This is only exposed so that the entity rendering function
   * in the GUI can remap the bottom-up world coordinates to the top-down
   * SFML coordinates.  Once views are implemented, find a way to make this
   * private. */
  Map map_;  /// The map of the current level
  Entity* player_;  /// A pointer to the current player, with no ownwership
  /// A list of the entities in the game
  std::deque<std::unique_ptr<Entity>> entities;
};

}  // namespace arleic

#endif  // ARLEIC_INCLUDE_GAME_HPP

redpajama_set_name: RedPajamaGithub


There is much rejoicing here!
Not only has spring sprung, but there's great news. While spring had a bit of a setback today (it's cold and dreary), our hearts are lighter. My friend's son has been sick for the past 6 weeks, and I have written about him before. We were really, really worried about him.
Today I found out that he has a diagnosis, and it is just an infection that will pass. He (like me) has unusual symptoms when he gets sick, so they were going from one specialist to another. It's wonderful to have not only an answer, but an answer that means he will get back to "normal" relatively soon. Phew!
I guess I need to switch to worrying about us again, now.


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Separating yourself from the conditions of the addiction issue can help remove distractions and temptations that prevent long-term recovery. When viewing rehab as a therapeutic refuge, addicts will find exclusive private centers in cities outside of Schenevus, New York. Offering resort-like features, the best facilities help achieve a physical, psychological and emotional recovery. However, those looking for treatments from home may find a clinic in close proximity to your residence is a less difficult decision.
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Note About Insurance for Addiction Treatment: APS Healthcare, Great West Insurance and Magellan Health Services often cover at least some of your addiction therapy, and you can find out more about your own coverage or benefits here.


text:
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A summary of what Grand Forks has to offer.
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Rugged, often barren but always dramatic, North Dakota's badlands won over President Roosevelt in the late 19th century and continue to woo nature enthusiasts now as part of Theodore Roosevelt National Park.
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Explore destinations near Grand Forks.
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Click here to view all the guides avialable for North Dakota.
• North Dakota • Grand Forks • Weather
Weather>
Weather information for the Grand Forks area is provided below. Average temperatures, climate details and current forecasts are included.
Current Forecast
Monthly average temperatures and precipitation for Grand Forks are shown below.
Avg. High 14° 18° 32° 51° 67° 76° 81° 80° 68° 55° 34° 18°
Avg. Low -5° 1° 15° 31° 42° 52° 56° 54° 44° 34° 18° 1°
Daily Avg 4° 10° 24° 42° 55° 64° 68° 67° 56° 45° 27° 10°
Avg. Precip. 0.7 in 0.5 in 0.9 in 1.4 in 2.1 in 2.8 in 2.7 in 2.4 in 2.3 in 1.3 in 0.7 in 0.6 in
Note: All temperatures are in degrees Fahrenheit.
We offer a compact version of Go-Northdakota for mobile users, allowing you to access just the information you need on the road. Of course, you can still use the full version of Go-Northdakota on your mobile device just as you can on your desktop.


Clindamycin (phosphate) is a lincosamide antibiotic used in the treatment of infections caused by susceptible microorganisms. Clindamycin (phosphate) is a semisynthetic antibiotic derived from lincomycin by 7(S)-chloro-substitution of the 7(R)-hydroxyl group of the lincomycin. Clindamycin is marketed under various trade names including Dalacin (Pfizer), Cleocin (Pfizer), and in a foam as Evoclin (Connetics) and Duac(Stiefel). Clindamycin (phosphate) is used primarily to treat infections caused by susceptible anaerobic bacteria. Such infections might include infections of the respiratory tract, septicemia and peritonitis. In patients with hypersensitivity to penicillins, clindamycin (phosphate) may be used to treat infections caused by susceptible aerobic bacteria as well. It is also used to treat bone infections caused by Staphylococcus aureus. Topical application of clindamycin phosphate can be used to treat moderate to severe acne.


But don't worry, you can beat temptation and keep your health in check with these work snacks.
The reason why unhealthy snacks are so popular is because they are plastered everywhere we go – the nearby convenience store, supermarkets, gas stations, work cafeteria, even those pesky vending machines. Worse yet, once we find spots with the snacks and drinks we like, it often becomes a regular habit that may be hard to break.
And that's just from eliminating one soda/juice per day! Imagine what you could lose if you got rid of all the other unhealthy snacks you're guilty of eating at work.
Stick to the plan and pack work snacks under 200 calories. Your snack should be nowhere near the total calorie count of an entire meal. It's something that should be small enough to tide you over until your next main meal but be nutritious also.
Packing Healthy Work Snacks Doesn't Take Much Time – Less Than 5 Minutes!
The reason why we snack is because it nourishes your body and keeps your metabolism going. This helps keep you from going into "starvation mode" where you start craving anything and everything that crosses your path.
If you get to the point where your stomach is growling for food, then you've gone too long without nourishment and you may likely overeat at your next meal.
Prevent this from happening by planning out your work snacks ahead of time. It doesn't take a lot of time if you just stick with snacks that are simple, yet nutritious. Just be sure to add these items to your shopping list so the next time you go grocery shopping, you will purchase these healthy options.
Pack them up the night before and then you can quickly grab them in the morning. This way you won't be tempting to indulge and buy something later on in the day.
Hopefully, my 10 healthy work snacks have inspired you so you will never have to resort to making unhealthy vending machine purchases on your break.
Remember, maintaining a healthy life is a culmination of many small decisions made throughout your day. Work snacks are definitely included in these decisions. Prepare yourself and you will have healthy snacks for work and be one step closer to a healthy life.


I gave this to the boys and they immediately started fighting over it, which is a big deal for BMO because he is quite a quiet pig. Schmutz ate off all the green 'grass' part of the toy within the first five minutes. Since then, it has been in the cage for about a week, and while I don't often see them playing with it, I occasionally see Schmutz throwing it around the cage. There is also chew marks over the carrot where he has obviously gave it a gnaw. I think this is one of those toys that need to be rotated with other toys, as the boys got bored of it, but first off were in love. However, it has made me want to purchase more toys in the future which is a good start since I was so anti toys. Once I have got up a collection of toys, I could rotate them weekly and hopefully the boys will not get as bored of it.
Next off, because the packet said rats may enjoy it, I gave Nike a week trial of it to see what she would think. When I put it in her cage, she straight away took it into her nest and I could see her through the entrance inspecting what it actually was. After the first night with it, she had gnawed into it so much more than the boys had in a week. She had also chewed down what little Schmutz left of the green leafy part of the carrot to next to nothing and also had snapped some of the twine that made the carrot.
The next time I saw it, it was unraveling so much that I could see the inside cardboard. She had really managed to rip this apart, so much more than the boys had. I could tell that she was enjoying it and left it in her cage for another week. That was the last I saw of that toy looking like a carrot. The next time I saw it, the whole thing was just little pieces of orange rope, random cardboard pieces, and more orange rope. She had managed to rip the whole thing apart! I think all in all, it took her about three weeks to fully destroy this toy. I can't say how long she actually chewed it for in this time, but it must have held her interest for it to change so drastically week to week.
Overall, I enjoyed this toy for both the boys, and the rat. The boys, although they didn't play with it much, they did enjoy it. I think if I gave this to them every second week they would have enjoyed it more as they lost interest after the first day or two. I currently have in the boys cage a corn version of this toy which they are loving so I might get this carrot again to swap in and out for that. As for Nike, she loved it. I always love it when she finds something she likes, and it makes her life a bit more interesting. I think I will get her another one as well, so that both the boys and her have a separate one each. This made me appreciate corn husk as a toy option for rats, guinea pigs and rabbits and will make me look more into toys containing this. Remember, it must be a good product if I want to purchase it again.


Q:Are you a factory or trading company9 A::We are a factory, we provide ODM& OEM services. Q: Is it OK for us to visit your factory 9 A: You are always warm welcome to visit both our factories . If you really want to come to our company ,we can also arrange drivers to pick you up .
1 YRS Foshan Yuanlian Lighting Co., Ltd.
Trims are held in place with high tension clips Housing is IC rated for direct contact with insulation and can be used in IC and NON-IC applications. Connection Polarity-specifi c EZ-connect system engineered to match with Module LED trims. Hanger Bar Allow housing to be positioned and locked at any point within a 24" joist span.
If any quality problems on our side occured in this period ,we will take on the shipping cost and replacement. But there are some suppliers write a high data to attract clients,please note. Q5:How does your factory do regarding quality control 9 A5.Quality is priorioty.
Advanced energy technology, excellent heat dissipation, low lighting dissipation, long lifespan 2 . 6. Energy saving and high luminous intensity 7. Main material: Pure aluminum Trade terms: A. Lead time: Sample 2-3 week working days or stock sample send to you immediately, Mass production: 25 days E.
4 YRS Shenzhen Moonnight Photoelectronic Technology Co., Ltd.
9 YRS Shenzhen Qiled Lighting Co., Ltd.
In order to achieve the high quality and capacities, we use the Auto-SMT and Auto production assembly line to meet high quality require ment. Our monthly production capacity increased, LED panel exceed 60,000 pcs, LED Linear and batten exceed 80,00pcs. In order to achieve the high quality and capacities, we use the Auto-SMT and Auto production assembly line to meet high quality requirement.
Alibaba.com offers 48 downlight fire cover products. About 50% of these are led downlights.
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Following this sort of eating plan can result in sure dietary deficiencies, and youngsters, in addition to pregnant or lactating ladies ought to avoid it. The low-carb diet is best for people who really get pleasure from savory diets that involve more animal-based products and less candy, refined carbohydrates," notes Kyle. The cornerstone of a wholesome diet pattern needs to be to interchange processed meals with actual food whenever possible.
Our analysis of body composition showed that the load misplaced in the very low carbohydrate diet group consisted of an analogous share of fat mass as in the low fats diet group. Eating chili peppers may be useful on a weight reduction diet. Since you'll be eating meat some of the time, you may additionally be at a decrease threat of the aforementioned nutrient deficiencies that vegetarians and vegans might face.
The foods at the narrow prime are people who should be eaten sparingly, if at all. At the flip of the 20th century, tapeworms had been bought in tablet kind for diet functions: Eat more and drop extra pounds. Abstract Leafy greens are a superb addition to your weight reduction diet. It is simple to search out healthy foods to incorporate on a weight loss diet.
That is why some folks call keto diets LCHF" (low carb, high fat). You should have gained half the wholesome diet battle if you have a well-stocked kitchen, a stash of fast and simple recipes, and plenty of wholesome snacks. The study discovered small threat reduction in stroke and Sort 2 diabetes for folks adhering to a low-glycemic-index diet, which includes foods like green greens, most fruits, kidney beans and bran breakfast cereals.


text:
/*
 * To change this license header, choose License Headers in Project Properties.
 * To change this template file, choose Tools | Templates
 * and open the template in the editor.
 */
package ejercicio16;

/**
 *Imprimir diez veces la serie de numeros del 1 al 10.
 * @author isaac
 * @version 1.0
 */
public class ejercicio16 {
    public static void main(String[] args) {
for(int i=0;i<10;i++){
for(int b=1;b<=10;b++){
System.out.print(b+" ");
}
}
}
}


Everything I've done…I did for them.
UPDATED AGAIN! More posters hit for Battle of the Five Armies Arrives!
THE WRIGHT STUFF: In the second of our new series, our insider, actor, grunt and paranormal investigator John Wright looks at Hollywood's fascination with terrible CGI that, frankly, ruins movies that otherwise had potential… bring back the practical effects and men in rubber suits!


Barry focuses on problem commercial and real estate loan resolution and commercial litigation, with an overall emphasis on creditors' rights. As an experienced litigator, he handles all phases of the real estate workout and foreclosure process, whether resolved consensually or through litigation. Barry has vast experience through several recessions in handling forbearance agreements, modifications, deeds-in-lieu, distressed real estate loan sales, consensual sales, foreclosures, receiverships, suits against guarantors, fraudulent transfer claims, and REO property. He has extensive experience dealing with foreclosures of a broad scope of property types in multiple jurisdictions including industrial, office, retail, multi-family, hospitality, restaurant, residential development, and self-storage facilities.
Barry's commercial litigation practice involves working with both private and institutional lenders. Barry also has extensive experience working with institutional clients and private investors in connection with the acquisition, maintenance, and workout, including litigation of individual loans and loan pools. He has managed and worked on a number of large scale financings involving real estate-based collateral as well as asset-based collateral.
Barry has extensive civil litigation and appellate experience in state and federal courts. His litigation practice includes the representation of creditors in the recovery of loans and other commercial claims, as well as commercial real estate litigation.
Charlie has a background in accounting and taxation, he earned a MBA from Northeastern University and a Masters in Taxation from Bentley College.
Charlie has worked as a controller for a real estate development firm, a financial analyst for an investment bank, and a tax accountant for a regional bank. More recently he held a management and consultant role with Thomson Elite and a local company, Bridge4Solutions, which was acquired by Thomson Elite. His role with Thomson was to assist professional service firms, primarily law firms, in the selection and integration of management information applications.
Today Charlie works for a Boston based law firm managing their financial management software applications.
Paul Linsay, Manager of Lawyer-Apps.com, has extensive experience in computers and computing from embedded controllers to large scale scientific computation. After twenty years in the M.I.T. Physics Department he left to do industrial consulting. Notable consulting clients include Motorola and Kurzweil Technologies. In the past ten years he has been a serial entrepeneur with several small startups. The last four years have been spent with Lawyer-Apps.com.
Dr. Linsay has a Ph.D in Experiment High Energy Physics from The University of Chicago.


text:
class	CStringRegistry;
class   CAI_ClassScheduleIdSpace;
class	CAI_BaseNPC;

struct	Task_t;

#ifndef MAX_CONDITIONS
#define	MAX_CONDITIONS 32*8
#endif
typedef CBitVec<MAX_CONDITIONS> CAI_ScheduleBits;

//==================================================
// goalType_t
//==================================================

enum goalType_t
{
	GOAL_NONE = -1,
	GOAL_ENEMY,				//Our current enemy's position
	GOAL_TARGET,			//Our current target's position
	GOAL_ENEMY_LKP,			//Our current enemy's last known position
	GOAL_SAVED_POSITION,	//Our saved position
};

//==================================================
// pathType_t
//==================================================

enum pathType_t
{
	PATH_NONE = -1,
	PATH_TRAVEL,			//Path that will take us to the goal
	PATH_LOS,				//Path that gives us line of sight to our goal
	//PATH_FLANK,				//Path that will take us to a flanking position of our goal
	//PATH_FLANK_LOS,			//Path that will take us to within line of sight to the flanking position of our goal
	PATH_COVER,				//Path that will give us cover from our goal
	//PATH_COVER_LOS,			//Path that will give us line of sight to cover from our goal
};

//=============================================================================
// >> CAI_Schedule
//=============================================================================

class CAI_Schedule;

class CAI_SchedulesManager
{
public:
	CAI_SchedulesManager()
	{
		allSchedules = NULL;
		m_CurLoadSig = 0;		// Note when schedules reset
	}

	int				GetScheduleLoadSignature() { return m_CurLoadSig; }
	CAI_Schedule*	GetScheduleFromID( int schedID );	// Function to return schedule from linked list
	CAI_Schedule*	GetScheduleByName( const char *name );

	bool LoadAllSchedules(void);

	bool LoadSchedules( const char* prefix, CAI_ClassScheduleIdSpace *pIdSpace  );
	bool LoadSchedulesFromBuffer( const char *prefix, const char *pfile, CAI_ClassScheduleIdSpace *pIdSpace );

private:
	friend class CAI_SystemHook;

	int				m_CurLoadSig;					// Note when schedules reset
	CAI_Schedule*	allSchedules;						// A linked list of all schedules

	CAI_Schedule *	CreateSchedule(char *name, int schedule_id);

	void CreateStringRegistries( void );
	void DestroyStringRegistries( void );
	void DeleteAllSchedules(void);

	//static bool	LoadSchedules( char* prefix,	int taskIDOffset,	int taskENOffset,
	//											int schedIDOffset,  int schedENOffset,
	//											int condIDOffset,	int condENOffset);

	// parsing helpers
	int	GetStateID(const char *state_name);
	int	GetMemoryID(const char *memory_name);
	int GetPathID( const char *token );
	int GetGoalID( const char *token );

};

extern CAI_SchedulesManager g_AI_SchedulesManager;

class CAI_Schedule
{
// ---------
//	Static
// ---------
// ---------
public:
	int GetId() const
	{
		return m_iScheduleID;
	}

	const Task_t *GetTaskList() const
	{
		return m_pTaskList;
	}

	int NumTasks() const
	{
		return m_iNumTasks;
	}

	void GetInterruptMask( CAI_ScheduleBits *pBits ) const
	{
		m_InterruptMask.CopyTo( pBits );
	}

	bool HasInterrupt( int condition ) const
	{
		return m_InterruptMask.IsBitSet( condition );
	}

	const char *GetName() const
	{
		return m_pName;
	}

private:
	friend class CAI_SchedulesManager;

	int			m_iScheduleID;				// The id number of this schedule

	Task_t		*m_pTaskList;
	int			m_iNumTasks;

	CAI_ScheduleBits m_InterruptMask;			// a bit mask of conditions that can interrupt this schedule
	char		*m_pName;

	CAI_Schedule *nextSchedule;				// The next schedule in the list of schedules

	CAI_Schedule(char *name,int schedule_id, CAI_Schedule *pNext);
	~CAI_Schedule( void );
};

//-----------------------------------------------------------------------------
//
// In-memory schedules
//

#define AI_DEFINE_SCHEDULE( name, text ) \
	const char * g_psz##name = \
		"\n	Schedule" \
		"\n		" #name \
		text \
		"\n"

#define AI_LOAD_SCHEDULE( classname, name ) \
	do \
	{ \
		extern const char * g_psz##name; \
		if ( classname::gm_SchedLoadStatus.fValid ) \
		{ \
			classname::gm_SchedLoadStatus.fValid = g_AI_SchedulesManager.LoadSchedulesFromBuffer( #classname,(char *)g_psz##name,&classname::gm_ClassScheduleIdSpace ); \
		} \
	} while (false)

// For loading default schedules in memory  (see ai_default.cpp)
#define AI_LOAD_DEF_SCHEDULE( classname, name ) \
	do \
	{ \
		extern const char * g_psz##name; \
		if (!g_AI_SchedulesManager.LoadSchedulesFromBuffer( #classname,(char *)g_psz##name,&classname::gm_ClassScheduleIdSpace )) \
			return false; \
	} while (false)

//-----------------------------------------------------------------------------

#endif // AI_SCHEDULE_H


text:
A.K.L. THIJS
Vera Effigies? Vindingrijke omgang met drukvormen: productiekosten reducerende beeldmanipulatie bij bedevaartprenten
Vera Ogies? Creative engraving leads to cast reduction as well as to unauthentic imagery at holy pilgrimage sites
In the preindustrial era image manipulation enabled publishers to cut production costs by reusing printing blocks, even in a quite different context. They sometimes altered the image a litde bit and did not bother at all about violating the authenticity of the design. Evidence of this practice can be found in many kinds of cheap prints (chap books, almanacs, broadside ballads, etc) though rarely in images sold at pilgrimage sites. But by exploring the rather marginal phenomenon of this type of religious imagery new light can be shed on the position of the publisher and the pil-grim.
Because of the conditions in which the production and distribution of pilgrimage prints took place, image manipulation did not occur on a large scale. The local ecdesiastical administrators, who generally ordered the images, wanted to sell an accurate depiction of their holy site. The same can be said about the commercial publishers who were also active in well-known places with a guaranteed return. Thanks to this constant demand of the pilgrims, the (quite common) practice of using a printing block with a different context was rare.
The study of this (limited) number of special images does not allow to conclude that many pilgrims rejected these manipulated prints as fakes or considered these 'misrepresentations' as problematic, because their religious experience did not depend on the representations as such. What mattered for them was the belief in the special power they expected from these devotional prints. These `sacred' images enabled pilgrims to make supernaturalism tangible in everyday life.
H. PIENA
Liefde uit Duitsland. Thüringer spanen dozen in de collectie van het Nederlands Openluchtmuseum
With Love from Germany. Chip wood boxes from Thiiringen (Germany) in the collection of the Dutch Open Air Museum (Arnhem)
The Dutch Open Air Museum houses a collection of about 250 chip wood boxes of varying origin. Recent research revealed that about 68 of these boxes were made in Th0ringen, Germany. They date from the end of the 18th century up until about 1900. Although these boxes are from different periods and differently decorated, they are remarkably similor in their production techniques. They all seem to have been made by splitting and planing long pieces of pine wood. The bottom and top boards are cut out and, if necessary, two boards are glued together to gain the required width. The sides are joined with willow twigs. The bottom and top boards are mounted with wooden pegs, the most recent examples being fixed with staples.
Initially these boxes were used as presents accompanying a wedding proposal. From the beginning of the 19th century the repertoire of decoration expanded covering mythological, heraldic, erotic and educational topics. From about 1830 onwards the painted decoration on the top was replaced by a lithography and the boxes predominantly served as containers for wooden toys.
Chip wood boxes were transported in huge quantities by boat and in the 18th century were already a well known item throughout the whole of Holland. They became a characteristic feature in Dutch households in all regions and social dasses. Their secondary use in Holland varied from the storage of important documents through to little household items and, most often, fragile textiles such as lace bonnets and rib-bons.
K. FRANCOIS en R. PINXTEN
Etnowiskunde: ontstaan en betekenisverschuiving van een concept
Ethnomathematics: Development of a Concept and its Shified Meaning
Ethnomathematics has no correlate in Dutch. Analogous to ethnomusicology – referring to the science of music around the world with the exception of so-called classical music – ethnomathematics could be considered to be the science of mathematica) thinking around the world, except for academie mathematics Indeed, at its inception ethnomathematics could be described in those terms. It was first and foremost developed within anthropology as the study of mathematica' practices of illiterate peoples. Over the past decennia the concept was broadened, but it remained an important topic of research within anthropology. It now focuses on the study of mathematical practices in general, looked from the point of view of the group concerned.
In this paper we give an overview of emergence of the concept focusing on the shifts in meaning in it from an exotic and rather Eurocentric towards a postcolonial and intercultural approach to mathematical practices. Apart from that we investigate the areas in which ethnomathematics hos a potential impact: anthropology, history, philosophy, and of course mathematics education.
De subjectieve en collectieve tijdservaring vanuit een volkskundig perspectief
The individual and collective experience of time: an ethnological analysis
Personifications, attributes, images and expressions render the concept time less abstract. Indications of time are not always mathematical data because in a special context they too often have an emotional value (e.g. nine eleven, 31st of october vs. halloween, etc). Discussions about setting the doek to summer-time are ridiculous in comparison to interfering with the calendar. The julian and gregorian reforms were pragmatic. The `revolutionary' reforms were ideological and brought forth collective protest because people lost their points of reference and reacted accordingly. In the western hemisphere the abbreviatons AD, AH and UT refer to different eras and this aspect of time deals with identity.
Life is marked by ups and downs. That is the reason why it is important to act cautiously, to know beforehand what is to be done and avoided at a certain moment. Some people believe that the way something happens (especially at the startingpoint) sets an ominous precedent.
It is remarkable that there are so many contradictory points of view regarding (un)lucky moments. This paper is not meant to be an inventory, but rather as an appetizer.
E. DECRAENE
'ghelyck eene man met eeren toestaet' De constructie van de "goede" en "falende" echtgenoot voor het Brusselse en Mechelse geestelijke hof in de eerste helft van de 17e eeuw: ezen casestudy
"Like a man with honour permits". The construction of the Bood' and the bad' husband before the ecclesiastical court of Brussels and Mechelen during the first half of the seventeenth century: A case study
This study aims at analysing the way in which the idea of male dominance within a marital bond was constructed and negotiated before the ecclesiastical courts of Brussels and Mechelen during the first half of the seventeenth century. Via a dis-course analysis of 11 cases on marital conflicts, I aim to demonstrate that husbands had to come up to a fluid corpus of expectations. Patriarchal dominance was not absolute and the boundaries between an acceptable practice of dominance within husband/wife relationships was constantly negotiated and contested by neighbours, friends, families and priests. Men who violated the acceptable social practice of patriarchal principles inside their households affected their manly status in other social, often public, circuits and vice versa. This micro-study will serve as a first step towards a better understanding of the actual social practice of early modern patriarchal power.
H. GEYBELS
Sint-Damiaan in de religieuze volkscultuur: held of heilige?
Father Damien: Saint or Hero?
Father Damien is very popular, though almost unknown in popular religious culture, contrary to e.g. Saint Anthony, Saint Rita, Mary … Not only in Flanders, but also in Hawaii, a popular devotion has never developed, notwithstanding the enormous amount of relics which has been spread. Nowadays, people light candles, offer some money and touch his grave, but that's about it. One of the explanations is that Father Damien is foremost a `social hero' and it is difficult to identify him with a hero. What he has done, is hard to conceive, almost super-human. He is an example of courage, commitment, solidarity and so on. Another reason is that the Fathers of the Holy Hearts never encouraged popular devotions for the first saint of their congregation. The Fathers presented him as a christian example of love for the neighbour, rather than a devotional idol. There has never been an explicit merchandising, so to speak. However, some things changed in the pilgrimage place of Scherpenheuvel. In May 2010, a big, bronze statue of the saint was revealed, and suddenly people started to touch the one foot of the saint. Till now, that is the only expression of a popular cult, which spontaneously came into origin.
J. TAELS
Over humor, levenskunst en tragiek
On Humour, Art of Life, and the Tragic
In his philosophical approach J. Taels attempts to elucidate two central meanings of humour: humour as the synonym of the comic, and humour as an art of life.
In the first section he discusses several central aspects of humour in the broad sense, which relates to all forms of expression (verba', auditory, visual, mimicry, understanding etc.) that in one way or another appeal to our desire to laugh. Particularly he outlines the three most prominent theories on the meaning of the comic: the superiority theory, the release theory, and the incongruity theory.
In the second section he goes deeper into the art of life aspect of humour. In this narrow sense humour refers to an exemplary practice, 'a universal human activity that invites us to become spectators upon our lives' (Simon Critchley). By dislocating the familiar and by summoning unexpected contexts and horizons, humour makes people assume a contemplative attitude towards the world. At the same time, this theoretical attitude unfolds in an eminently practical marmer. Humour is, in this case, an indication of an art of life that is dosely related with practical wisdom, and that makes up a part of the ethical and spiritual praxis in life.
K. FEYAERTS
Humor en creativiteit taalkundig bekeken
Humour and Creativity from a Linguistic Point of View
This contribution focuses on the question how humour can be investigated from a linguistic point of view. For that purpose we advocate the paradigm of cognitive linguistics as a dynamic model of meaning research. In this paradigm, meaning is identified as a rich conceptual structure, which in running discourse is constantly being determined and mutually coordinated by the individual participants of the interaction. This observation pertains to the dimensions of active construal and intersubjectivity of meaning, respectively. From this usage-oriented perspective, humour can be described as marked, but structurally regular language use, which is operated through exactly the same construal mechanisms as in everyday, non-humorous language use. In any case, the linguistic analysis of humorous and creative language use provides us with a beuer insight in the flexibility of both semantic categories and the meaning system as a whole. Specifically, this contribution illustrates how the semantic mechanisms of metonymy and resonance can be exploited and manipulated in function of a deautomatization of the interpretation, on the basis of which a humorous effect can be achieved. Throughout our analysis, we demonstrate that a dynamic view on meaning requires the social dimension of meaning to be included as well. In the analysis of humorous utterances, it becomes dear that meaning emerges in a process of mutual coordination, in which participants constantly anticipate and evaluate their interlocutor's knowledge, attitudes, emotions, judgements etc. Through this observation, we identify the intersubjective dimension as an inherent component of meaning and we regard creativity as a fundamental cognitive ability, whose systematic impact can be observed throughout all types of media.
Het liedeken vande joffrouw van Brugge en haar catteken: lachen om de sentimentalisering van de omgang met een eigenwillig huisdier
Ridiculing too sentimental a relation with pets: the song about a young lady of Bruges and her beautifid but headstrong small cat
These days the cultural-historical interest in the man-animal relation hos grown considerably. Yet in Flanders this relation still remains a rather unexplored domain. Therefore, this article draws attention to a late seventeenth / early eighteenth century teat dealing with the emotional relation between a young single in Bruges and her favorite pet. It was written by a well-versed person.
For altes domestic cats were looked upon as ill-disposed creatures, deceitful and malicious. They owed the bad name to their purported contact with witchcraft and to the fact that they are less tractable than dogs.
That may be one of the reasons why we could only find a few traces of (sentimental) man-cat relations and only in the upper class during the early modern era. In fact, sentimentalizing broke definitively through in the second part of the nineteenth century. This song is one of the relatively early testimonies. It is worth mentioning that in 1841 the poet P.J. Renier incorporated a few elements of this song in a Holy Mary legend, situated in Bruges.
West-Vlaamse volkszangers met populistische trekjes?
Flemish songs as a source for social research
A selection of early 20'h-century popular songs proves that most West-Flemish non-professional singers were a combination of (rather light-hearted) populist and moralist. Eradicating prejudices was not their priority because they were by all means aiming at immediate applause. The singers preferred to exploit gender problems, defend traditional values (e.g. group loyalty/social immobility) and criticize (indirectly) the hypocritical establishment.
G. BUELENS
"God verhoor ons, dat zijn wij". De functies van het Nederlandse Eerste Wereldoorloglied
"God answer our prayers, this is us"
Functions of the Dutch First World War Songs
Internationally the First World War is associated mostly with poems like 'In Flanders Fields' or, within the Dutch speaking world, Paul van Ostaijen's Bezette Stad. Songs as well became famous through the war. By December 1914 les a Long Way to Tipperary (originally from 1912) was generally known as 'The Marching Anthem on the Battlefields of Europe'. The Netherlands was not a battlefield, yet due to massive mobilisation efforts thousands of Dutch soldiers had to march on a daily basis. In 1915 an official song volume for the Dutch army was published. The Dutch who were not mobilized also spent the war singing about the conflict – a very rich but hardly researched source to learn how the Dutch dealt with the official policy of neutrality.
G. DE MEYER
Rock is dood
Rock is Dying
Starting from the quote by Sting (The Police) in 2006 that rock music isn't revolutionary, but instead reactionary music, and that rock music is dying, this essay tries to link the actual status of rock music to matters of authenticity, mainstream versus substream, business versus creativity, the phenomenon of cross-over and recycling. The conduding chapter tries to give an answer to the question if the rock-fan really is as open-minded, as he is supposed to be and has an omnivorous taste, as postmodern theory suggests.
L. P. GRIJP
De Vlaamse dimensie van de Nederlandse Liederenbank
The Flemish dimension of the Nederlandse Liederenbank
The Nederlandse Liederenbank (www.liederenbank.n1) is a database that unlocks about 150,000 songs and is used both by scholars and the genera' public. Translating the name of the database into English yields a problem that is related to an important question of this essay: how relevant is the Nederlandse Liederenbank for the Flemish community? Usually 'Nederlandse Liederenbank' is translated rather easily as Dutch Song Database' – so as a Dutch database of songs or as a database of Dutch songs -, but one may also interprete it as 'database of songs in the Dutch language'. In the context of this essay one might ask if `Dutch' is the most adequate translation for 'Nederlandse', because `Dutch' seems to refer to the Netherlands, while the Nederlandse language indudes both the northern variant of the language, spoken in the Netherlands (`Dutch'), and the southern variant, spoken in Belgium (Tlemish'). The latter interpretation is in line with the policy of the Meertens Institute in Amsterdam, which hosts the database: the Nederlandse Liederenbank may contain songs both from the Netherlands and Flanders. In this essay the author, who is in charge of the Nederlandse Liederenbank, argues in favour of more Flemish-Dutch cooperation in this field.
M. DE BRUIN
Twee liedverzamelaars: Pol Heyns en Ate Doornbosch
Two Song Collectors: Paul Heyns and Ate Doornbosch
The Dutch Song Database (DSD) contains some 4.000 recordings of ballads made by Ate Doornbosch from 1957 to 1993 in The Netherlands, using his radioshow Under the Green Lime to collect them. About twenty years before him the Flemish reporter Pol Heyns recorded hundreds of songs, also in the context of a radioprogramm. The recordings are now added to the DSD. In this artide it is argued that the two collections are extra valuable in combination. Obviously this is the case with new material, but even more so in the matching parts of the collections. To some extent the same songs or variants of songs were recorded and this leads to more knowledge about the circulation of both texts and melodies, used in contemporary research on oral transmission. Therefore it is a good idea to map as many collections of Dutch and Flemish recordings as possible.
R. BELEMANS
Plat gezongen. Over muziek en streektaal in Vlaanderen en Nederland
Singing in dialect or regional language in Flanders and in the Netherlands
Singing in dialect has a long tradition in the Low Countries, that reaches back to the medieval folk songs and the broadside singers, who lasted until the middle of the 20'h century. The appearance and the increasing popularity of the modern media since the Interbellum caused great changes in the language use in popular music. The use of dialect became increasingly unpopular as music and shows got broadcasted for a much bigger, nationwide audience. Singing in the Dutch standard language guaranteed to local entertainers more audience and fame. From the fifties on many international artists with a repertoire in English were also favored by the broadcasting companies. It took as long as the eighties of the 20″ century before there was a revival of singing in local dialects, at least in the Netherlands. In Flanders it still remains a not really popular genre until today. The different attitude towards the Dutch standard language in Flanders and the Netherlands and a different legal position of regional language variants next to Dutch can explain, why there are some hundreds of Dutch artists with a dialect repertoire and at least a regional fame and airplay in comparison no more than a dozen in Flanders.
W. BOSMANS
Pol Heyns' veldopnamen van Vlaamse volksmuziek uit 1935-1938 in de universiteitsbibliotheek van Regensburg
Pol Heyns' field recordings of Flemish folk music from 1935-1938 in the University Library of Regensburg
The ethnographer and radio reporter Pol Heyns (1906-1960) was the first collector of Flemish folk music to make recordings of the singers and musicians he visited. From December 1935 to the summer of 1939 he recorded about a thousand songs and instrumental pieces. With these field recordings he illustrated his radio talks on Flemish folklore. In 1941 Heyns published a volume ( Volksliederen) with a selection of 57 transcriptions of the songs he had collected. Only a small half of Heyns' recordings survived in the archives of the Flemish public broadcasting company VRT. In 2007 the author published the study Pol Heyns en het volkslied (Pol Heyns and folk song), with an inventory of the extant recordings and a reprint of Volksliederen. After publication it appeared that about another 250 copies were kept in University Library of Regensburg (Germany), most of them lost in the VRT. They were made in Brussels in 1942 on the instigation of the German ethnomusicologist Alfred Quellmalz, a collaborator of Himmler's Ahnenerbe. After the war Heyns' recordings were transferred to Regensburg, where they were catalogued by the ethnomusicologist Felix Hoerburger in 1953. In 2005-2007 they were digitized by the aterreiches Phonogrammarchiv in Vienna. The present artide tells the story of the Regensburg copies, catalogues them and presents some of the singers. The accompanying CD contains the original recordings of 19 songs in Heyns' Volksliederen, and also includes his very first recordings (Nos 1 and 2), the two oldest recordings of songs accompanied on the fiction drum rommelpot (Nos 22 en 23), and the only known recording of a Flemish broadside singer's performance (No. 24).


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Rizwan Manji (Toronto, 17 de octubre de 1974) es un actor canadiense. Hizo el rol de Rajiv en la ahora cancelada serie de TV  NBC Universal Outsourced.

Manji es aborigen de Toronto, Canadá de padres inmigrantes de la India desde Tanzania. Su familia is ismaili que descienden de indios musulmanes de Guyarat, y afirma que su religión es muy importante para él en la vida. Creció en Calgary, Alberta, y estudió en el Crescent Heights High School. Más tarde se mudó a EE. UU. donde concurrió al Academia Americana Musical y Dramática.

Manji se desempeñó en pequeñas participaciones en varios filmes y shows de VV shows; y, con papeles recurrentes en Privileged, Better Off Ted y 24. En 2010, audiciona para el rol de Gupta en la comedia de la NBC Outsourced. Aunque perdió la parte de Parvesh Cheena, los productores decidieron aceptarlo como asistente de dirección del intrigante Rajiv.

Vida privada
Manji reside en Studio City, California, con su mujer y dos hijos.

Filmografía

Cine

Televisión

Hannah Montana (2009) - Ajay
Shake It Up (serie de televisión) (2012) - John, Gary Wilde's make-up artist

Videojuegos

Referencias

Enlaces externos

Actores de Toronto
Actores de cine de Canadá
Actores de televisión de Canadá
Actores de Los Ángeles
Indo-canadienses
Expatriados en Estados Unidos
Ismaelíes de Canadá
Nacidos en Toronto
Reparto de Schitt's Creek

redpajama_set_name: RedPajamaWikipedia


BitMart Token is the official coin issued by the BitMart trading platform exchange.
?? Congrats to @Hovanhao88, @Joorriik, @RaymondTokunbo, @melissaxas, and @richkcc for being our lucky winners who have won 50% off coupons to purchase $BCT! ?? We'll DM each of you on how to claim your rewards. Thank you for all your participation!!


H&C nominated for 'Best Short Film' at FeFF!
Hummingbird & Crane was nominated for 'Best Short Film' at the Female Eye Film Festival! While we didn't win, it was still an honor to be selected from the 60+ shorts that played during the 5 day festival. A big congrats to our fearless director, Veronica Rodgriuez and our wonderful cast and crew!
Hummingbird & Crane accepted to The Female Eye Film Festival!
Hummingbird & Crane will be having it's World Premiere at the 14th Female Eye Film Festival in Toronto! This festival was named one of MovieMaker Magazine's "50 Film Festivals Worth the Entry Fee" for 2016 and we are honored to be included. This festival celebrates female directors like our very own, Veronica Rodriguez. Our quirky short is playing Friday, June 17th at 7:30PM before the feature, The Birdwatcher. Many thanks to the incredibly talented cast and crew who worked on the film and I will be sure to post more updates soon!


Past experiences can affect the ways that we think, behave and relate to ourselves and others in our present lives. Psychodynamic counselling enables us to explores our, often unconscious, choices, beliefs, resistances or patterns which may have built up over time without us noticing. These can often leave us feeling stuck and with an unhelpful view of ourselves and our world. By understanding how our past affects our present, we can then work together, using additional methods such as the use of Cognitive Behavioural Therapy (CBT) to make changes.This combined approach enables us to find alternative ways to become free from painful ways of living in order to move forward towards a happier and more fulfilling way of being. This will be done only at your own pace and in a way that feels comfortable for you.
My belief is that building a strong and trusting therapeutic relationship is vital in counselling, where you feel that you can speak freely without being judged for either your past or your present choices in life. My main focus will be on providing a safe, empathic and confidential space in which to explore any emotional issues that you may be struggling with on your own. These may be relationship difficulties, anxiety, panic attacks, depression, trauma, bereavement or addiction, to name a few. We can work together to find ways to help you to achieve freedom, contentment and fulfilment. As everyone is unique and has different requirements at different times, I work in an integrative way, drawing on a broader range of approaches as the work progresses.
We can discuss your specific needs in our first session.


Monopoly is a very well known game through out the world, the fact that any franchise will have their own version of it, from cartoons to movies. Despite them being re-skinned, they all play the same way as the original. Players picks tokens and race around the board to buy properties and earn rent from others landing on the same spot. The goal being to bankrupt every last one of your opponents until you have a monopoly.
Monopoly Gamer on the other hand is very different. The goal of earning as much money as you can is still there but there arr many key differences which i'll be pointing out through out the review.
In previous iterations of this game the tokens were just there to represent you and gave no benefits to choosing them. Monopoly Gamer, changes this up with each character having their own specialty, like Mario being really good at gaining coins, Yoshi being able to throw a green shell backwards, DK and his ground pound hitting everyone, and more. The game normally comes with 4 tokens, Mario, Peach, Yoshi, and DK, with the addition of Bowser in the Deluxe edition. In the Box there are more slots for other characters like Luigi, Diddy Kong, Rosalina, Tanooki and Fire Flower Mario, Wario and Toad. Sadly I have yet to find a store selling the power packs they are sold in.
Another difference is the dice used. In the normal Monopoly game there are 2 numbered dice used for movement across the board, and thats all. With Monopoly Gamer, they replace one die with an item die which has red shells, green shells, POW, Blooper and coins all around it. Players will move slower, but now they can attack the other players causing them to drop coins like true Nintendo fashion.
In this game there is an additional way of getting coins apart from rent, passing GO, and special landing spots. Now you can pick up coins dropped by other players by passing by or landing on the spot they're on.
In this game a number of tiles on the board have been replaced, namely the utilities, tax, and the trains. Warp pipes just like in Super Mario Bros. lets players move to the next warp pipe on the board picking up any coins along the way, Thwomps cause players to drop 2 coins, power star causes a player to activate their star abilities, and coin boxes let players roll the numbered dice and gain coins equal to the result.
Replacing the community chest and chance cards are the 8 Boss cards. On each boss card is one of the 7 koopalings and the last being bowser jr. You flip the top card at the end of a players turn if they pass GO. The players will take turns fighting the boss starting with the player who most recently passed GO. Players have a choice of fighting the boss or passing. Should they choose to fight the must pay the gold cost, and roll the required number or higher to defeat them. Each boss gives a different bonus, like gaining the cheapest unowned property, or even forcing a trade between 2 players. Apart from this just like properties, they are also worth points at the end of the game.
With Monopoly running out of money to pay someone is a possibility, and usually in Monopoly players can mortgage their properties to gain some money, but its still their property. In Monopoly gamer theh take away this complicated system and outright say you sell your property to the bank for the price you bought it for, making the game go by much faster.
Monopoly Gamer ends once the last boss card (Bowser Jr.) is defeated. Players will then total the points gathered from properties, bosses defeated, and coins(5 coins = 10 points).
Monopoly Gamer definitely is a breath of fresh air, making games go quicker with warp pipes and the boss cards, which was a big downside to the Monopoly game mechanics. It also fixes the problem of players being kicked out of the game by giving them a chance with Boss Cards instead of properties. Though the game is still at the mercy of dice, its definitely a more active game than just asking for rent from players, with the addition of the item die. It has just enough to feel like a Monopoly game, yet introduces new mechanics to call it a new game in and of itself. The fact that the power packs not being sold here is also very disappointing, and could have more replayability if it wasn't for that.


His mother described it as "attempted murder."
A 15-year-old American high school student was beaten and jailed by Israeli police in what his mother called an "attempted murder," as the incident happened a day after his cousin was killed.
The teen, Tariq Abu Khdeir from Tampa, Florida, was on a summer holiday with his parents and sisters in Jerusalem, visiting family in the eastern part of the city. Video clips posted online show three Israeli police officers in riot gear repeatedly beating a young Palestinian, identified as Abu Khdeir by his family, and dragging him away to arrest him.
On Wednesday morning, Tariq's cousin, 16-year-old Muhammad Abu Khdeir, was murdered in what is widely believed to have been a revenge attack for the recent kidnapping and murder of three Israeli Jewish teens.
Tariq was arrested on Thursday evening. Photos of him in detention show his severely swollen and bruised face, which his mother, Suha Abu Khdeir, said was unrecognizable when she first saw him following the arrest.
There have been daily clashes between Palestinian youths and Israeli police since the murder of Muhammad Abu Khdeir. The Abu Khdeirs said Tariq's arrest happened as he left his uncle's house after playing with his cousins. He was covering his face, they said, because of the tear gas set off at nearby clashes.
The police dispute the account, saying he was part of a group of six masked youths who were armed with three knives, resisted arrest and attacked the officers.
"How does a 15-year-old American student end up attacking security officers and rioting with hundreds of masked Palestinians??? [sic]" Rosenfeld asked in a text message.
Rosenfeld said he didn't know whether Abu Khdeir was the teen being beaten in the video or whether he was armed himself. Abu Khdeir's parents said they recognized him in the clips from the clothes he was wearing, including his baggy pants.
Suha Abu Khdeir was born and raised in Baltimore, where she met her husband Salah. He had emigrated in 1996 from the Jerusalem neighborhood of Shuafat where the beating took place. The couple then moved to Florida, where they had three children and Salah opened a Mediterranean restaurant.
This was their first trip to Jerusalem to visit family in 11 years, a vacation Tariq had long wanted to reconnect with his family and roots.
The visit was rocked by Wednesday's murder of his cousin Muhammad, abducted before dawn prayers by whom family and neighbors say were right-wing Israeli Jews seeking revenge for the murder of three Israeli teens kidnapped last month in the West Bank. Israel's government swiftly condemned Muhammad Abu Khdeir's murder but has not said whether Israelis were behind it.
The autopsy has not yet been released but on Saturday a senior Palestinian official said results show that Abu Khdeir was set on fire and burned alive. He was found in a wooded area west of Jerusalem.
The incidents have given rise to some of the most dangerous tension seen in years. Following the kidnapping of the three Israeli teens, Israel launched a huge crackdown in the West Bank on the Palestinian militant group Hamas, which Israel accuses of being behind the abduction. An uptick in the number of rockets launched into southern Israel from Palestinian militants in the Gaza Strip has followed, and Israel's military has responded with air strikes.
American officials at the consulate in Jerusalem and embassy in Tel Aviv would not respond to requests for comment since the Abu Khdeir family has yet to sign a privacy waiver. But the parents said they are going with U.S. officials to see Tariq on Saturday afternoon ahead of a court session on Sunday.


A new study released by Brian Schaffner and Stephen Ansolabehere for the AAPOR conference has found that opt-in surveys are just as accurate random telephone surveys.
1) For measures that we could validate with government data, both the telephone poll and the opt-in Internet survey produced an average error that was nearly identical in size (about 5 percentage points, on average).
2) For political measures that we could not validate, the differences between the phone and Internet survey were generally small (with a few exceptions). For example, the average difference between estimates of political attitudes and opinions generated from each survey was about 5 percentage points. Furthermore, neither survey was consistently more liberal or conservative on these measures.
3) The correlational structure of the data was not significantly different across the phone and Internet surveys.
Abacus Data specializes in using internet panels for the bulk of its research.
We used internet panels for our research during the 2011 federal election and were one of three firms to predict the final popular vote totals within our comparable margins of error. Online research affords our clients so many more opportunities and methods to collect data. It helps makes research more interactive and enjoyable that traditional telephone surveys.