text:
/*
 * iBankApp
 *
 * License : Apache License,Version 2.0, January 2004
 *
 * See the LICENSE file in English or LICENSE.zh_CN in chinese
 * in the root directory or <http://www.apache.org/licenses/>.
 */

package org.ibankapp.base.observer.test;

import java.util.Map;
import java.util.Vector;
import org.ibankapp.base.observer.EventConsumer;
import org.ibankapp.base.observer.EventRegister;
import org.junit.Assert;
import org.junit.Before;
import org.junit.Test;

/**
 * 测试事件注册器
 *
 * @author codelder@ibankapp.org
 * @since 1.0.0.0
 */
public class EventRegisterTest {

  /**
   * 事件注册器.
   */
  private EventRegister register;

  /**
   * 事件消费者.
   */
  private TestConsumer consumer = new TestConsumer();

  /**
   * 另一个事件消费者.
   */
  private TestSecondConsumer secondConsumer = new TestSecondConsumer();

  /**
   * 将Demo事件注册到事件注册器中并让事件消费者进行监听.
   */
  @Before
  public void initRegister() {
    register = new EventRegister();
    register.addListener(TestEvent.class, consumer);
    register.addListener(TestEvent.class, secondConsumer);
    register.addListener(TestEvent1.class, consumer);
  }

  /**
   * 测试添加事件监听.
   */
  @Test
  public void testAddListener() {

    Map<Class, Vector<EventConsumer>> listeners = register.getListeners();

    Vector<EventConsumer> consumers = new Vector<EventConsumer>();
    consumers.add(consumer);
    consumers.add(secondConsumer);

    Assert.assertEquals(consumers, listeners.get(TestEvent.class));
  }

  /**
   * 测试移除事件监听.
   */
  @Test
  public void testRemoveListener() {

    register.removeListener(TestEvent.class, consumer);

    Map<Class, Vector<EventConsumer>> listeners = register.getListeners();

    Vector<EventConsumer> consumers = new Vector<EventConsumer>();
    consumers.add(secondConsumer);

    Assert.assertEquals(consumers, listeners.get(TestEvent.class));

  }

  /**
   * 测试从空的事件监听列表里移除事件监听器.
   */
  @Test
  public void testRemoveFromEmptyListeners() {
    register.removeAllListeners(TestEvent.class);
    register.removeAllListeners(TestEvent.class);
    register.removeListener(TestEvent.class, consumer);
  }

  /**
   * 测试从事件监听列表里移除所有DemoEvent的事件监听.
   */
  @Test
  public void testRemoveAllDemoEventListener() {

    register.removeAllListeners(TestEvent.class);

    Map<Class, Vector<EventConsumer>> listeners = register.getListeners();

    Vector<EventConsumer> consumers = new Vector<EventConsumer>();
    consumers.add(consumer);

    Assert.assertNull(listeners.get(TestEvent.class));
    Assert.assertEquals(consumers, listeners.get(TestEvent1.class));

  }

  /**
   * 测试移出所有的事件监听器.
   */
  @Test
  public void testRemoveAllListener() {

    register.removeAllListeners();

    Map<Class, Vector<EventConsumer>> listeners = register.getListeners();

    Assert.assertEquals(0, listeners.size());
  }
}


text:
\partial{\partial}
\def{\cal P}{{\cal P}}
\def\overline{\phi}{\overline{\phi}}
\def\overline{P}{\overline{P}}

\newif\ifstartsec

\outer\def\section#1{\vskip 0pt plus .15\vsize \penalty -250
\vskip 0pt plus -.15\vsize \bigskip \startsectrue
\message{#1}\centerline{\bf#1}\nobreak\noindent}

\def\subsection#1{\ifstartsec\medskip\else\bigskip\fi \startsecfalse
\noindent{\it#1}\penalty100\medskip}

\def\refno#1. #2\par{\smallskip\item{\rm\lbrack#1\rbrack}#2\par

\def\eightpoint{\normalbaselineskip=10pt
\def\rm{\eightrm\fam0} \let\it\eightit
\textfont0=\eightrm \scriptfont0=\sevenrm
\textfont1=\eighti \scriptfont1=\seveni
\textfont2=\eightsy \scriptfont2=\sevensy \textfont\amsfam=\eightams
\normalbaselines \eightrm
\parindent=1em}

\def1{1}
\def2{2}
\def3{3}
\def4{4}
\def5{5}
\def6{6}
\def7{7}
\def8{8}
\def9{9}
\def10{10}

\rightline{FT/UCM--7--96}

\vskip 1cm

\centerline{\bf On the ``gauge'' dependence of the toplogical sigma model
                beta functions}

\bigskip

\centerline{\rm Luis Alvarez-C\'onsul\dag}
             \medskip
\centerline{\eightit Departamento de F{\'\i}sica Te\'orica, Universidad
                     Aut\'onoma de Madrid, Cantoblanco,28049 Madrid, Spain}
\vfootnote\dag{email: {\tt Lalvarez@delta.ft.uam.es}}
\bigskip
\centerline{\rm C. P. Mart{\'\i}n*}
\medskip
\centerline{\eightit Departamento de F{\'\i}sica Te\'orica I,
                     Universidad Complutense, 28040 Madrid, Spain}
\vfootnote*{email: {\tt carmelo@eucmos.sim.ucm.es}}

\bigskip\bigskip

\begingroup\narrower\narrower
\eightpoint
We compute the dependence on the classical action ``gauge'' parameters
of the beta functions of the standard topological sigma model in flat space.
We thus  show that their value is a ``gauge'' artifact indeed.
We also show that previously computed values of these beta functions
can be continuously connected to one another by smoothly varying
those ``gauge'' parameters.
\par
\endgroup

\bigskip
\centerline{PCAS numbers 11.10.Gh, 11.10.Kk, 11.10.Lm}
\bigskip

The topological sigma model introduced in ref. \cite{1} is a
particular instance of Topological Field Theory
(see \cite{2} for a review), and it lacks, therefore,
physical propagating local degrees of freedom. As a result, the
observables of the model are expected to be ultraviolet finite. And yet,
the beta functions of the model for the classical action of
ref. \cite{1} turns out not to vanish \cite{3}.
The solution to this riddle has been advanced by the authors of
ref. \cite{4}. These authors suggest that a non-vanishing
beta function is  merely a ``gauge'' artifact, which has therefore
no bearing on the value of the observables of the model. They back their
argument by introducing a classical action for the topological
sigma model that continuously connects, by means of a ``gauge'' parameter, say,
$\k_1$, the action of ref. \cite{1}, which demands $\k_1\,=\,1$,
with the ``delta gauge'' action, which corresponds to $\k_1\,=\,0$.
They then go on and compute the one-loop contributions to
the effective action for  the ``delta gauge'' classical action.
These contributions are ultraviolet finite so that the
one-loop beta functions for the delta-gauge action vanish. The issue,
however, has not been settled yet since it has not been shown that
the non-vanishing beta functions obtained in ref. \cite{3} can be
continuously make to vanish by sending $\k_1$ to zero.
It may well happen that the theories obtained for $\k_1\,=\,1$
and $\k_1\,=\,0$ are not the same quantum theory in spite
of the fact that their classical actions differ by a BRSTlike-exact term:
anomalies may turn up upon quantization.
It is thus necessary to compute the beta functions for arbitrary values of
$\k_1$ and show that these functions connect continuously the non-vanishing
beta functions obtained in ref. \cite{3} with the
vanishing beta functions of ref. \cite{4}. The purpose of
this paper is to carry out this computation and show that the
beta functions depend on $\k_1$ as expected.

We would like to do our computations by using the superfield formalism
introduced in ref. \cite{3}. The first issue to tackle will thus be
the existence of a superfield action that matches the action in
ref. \cite{4}. The latter action is obtained by setting $\k_2\,=\,1$
in the following equations
$$
{\cal S}(\k_1,\k_2)\,=\,- i\{{\sl Q},{\rm V}(\k_1, \k_2)\}\; ,
\eqno (1)
$$
$$
{\rm V}(\k_1,\k_2)\,=\, \int\! d^{2}\s\;
 \r^{\a i}\Bigl( -{\k_1 \over 4} H_{\a}^{\; i}+
\k_2\, \partial_{\a} u^{i}\Bigr)\, g_{i j}\; .
\eqno (2)
$$
Let us display the field content of the model.
First, we introduce the fields $u^i(\s)$,
which have conformal spin zero. $u^{i}(\s)$ describing (locally) a
map $f$ from a Riemann surface, $\Sigma$, to an almost complex
riemannian manifold $M$; the  almost complex extructure on $M$ being
denoted by $J^i_{\; j}$. Notice that the symbol $g_{i j}$ stands
for the hermitian metric on $M$ with regard to $J^i_{\; j}$;
 $\s$ denotes a point in $\Sigma$. Secondly, we define
the  anticonmuting field $\ji^{i}(\s)$ of conformal spin cero
to be geometrically interpreted as a section of the pullback by
$f$ of the tangent bundle to $M$; this pullback being denoted by $f^*(T)$.
We need two more fields. Let us call them  $\r^{\a i}$ and
$H^{\a i}$, respectively. They both have conformal spin one, and, they both
give rise to sections of the bundle of one forms over $\Sigma$ with values
on $f^{*}(T)$. The fields $\r^{\a i}$ and $H^{\a i}$ are anticommuting
and commuting objects, respectively, and they obey the selfduality constraints
$$
\r^{\a i}\,=\,\vep^{\a}_{\; \b} J^{i}_{\; j}\, \r^{\b j}\quad
H^{\a i}\,=\,\vep^{\a}_{\; \b} J^{i}_{\; j} H^{\b j}\; .
\eqno(3)
$$
Here $\vep^{\a}_{\; \b}$ is the complex structure of $\Sigma$, verifying
$\vep^{\a}_{\;\b} \vep^{\b}_{\;\g} = -\d^{\a}_{\;\g}$. The greek indices are
tangent indexes to $\Sigma$, they take on two values, say, $1$ and $2$.
These indexes are raised and lowered by using a metric, $h_{\a \b}$, compatible
with the complex structure $\vep^{\a}_{\; \b}$. It should be mentioned that
roman indices run from $1$ to ${\rm dim}\, M$ and that they are associated to
a given basis of $f^*(T)$.

The symbol ${\sl Q}$ denotes the BRST-like charge characteristic of cohomological
field theories \cite{5}, which can be obtained by
``twisting'' \cite{6} the appropriate N=2 supersymmetric field
theory \cite{6, 7}. The action of ${\sl Q}$ on the fields
introduced above reads \cite{1}
$$
\eqalignno{&\{{\sl Q}, u^{i}\}\,=\,-\ji^{i},\qquad \{{\sl Q}, \ji^{i}\}\,=\, 0\cr
&\{{\sl Q}, \r^{\a i}\}\,=\, i\Bigl( H^{\a i}+{1\over 2}i \vep^{\a}_{\;\b}
D_{k} J^{i}_{\; j}
\ji^{k}\r^{\b j}-i \Gamma^{i}_{j k}\ji^{j}\r^{\a k}\Bigr)\cr
&\{{\sl Q}, H^{\a i}\}\,=\, i\Bigl( -{1\over 4}(R^{i}_{ j k l}- R^{m}_{n k l}
J^{i}_{\; m} J^{n}_{\;\; j}) \ji^{k}\ji^{l} \r^{\a j} +
{i\over 2}  \vep^{\a}_{\;\b} D_{k} J^{i}_{\; j} \ji^{k} H^{\b j}+\cr
&{1\over 4} D_{k} J^{i}_{\; m} D_{l} J^{m}_{\quad j} \ji^{k}\ji^{l}
\r^{\a j} -i \Gamma^{i}_{j k} \ji^{j} H^{\a k} \Bigr)
\; .&(4)\cr
}
$$
In the preceding equations $\Gamma^{i}_{j k}$ stands for the Levi-Civita
connection on $M$ and $R^{i}_{j k l}$ denotes the Riemann tensor for
this connection.

Besides the BRST-like symmetry ${\sl Q}$, the model whose
action is displayed in eq.
(2) has at the classical level a $U(1)$ symmetry which obeys $[U,{\sl Q}]=0$.
The fields $u$, $\ji$, $\r$ and $H$ have, respectively, the following
$U(1)$ quantum numbers: $0$, $1$, $-1$ and $0$. The action $\cal S$
is conformal invariant and it has $U\, =\, 0$.

Following ref. \cite{3} we next introduce an anticommuting variable
$\theta$ with conformal spin zero and $U(1)$ charge charge -1, and, define
the following superfields
$$
\phi^{i}(\s, \theta)\,=\, u^{i}(\s)+i\,\theta\ji^{i}(\s)\; ,
\eqno (5)
$$
$$
P^{\a i}(\s,\theta)  = \r^{\a i} + \theta
\,\bigl( H^{\a i}-{1\over2} i D_{k} J^{i}_{\; j}
J^{j}_{\; l}\ji^{k}\r^{\a l} - i \Gamma^{i}_{j k} \ji^{j} \r^{\a k})\; .
\eqno (6)
$$
The superfields $\phi^i$ have boths $U(1)$ charge and conformal spin $0$.
The anticommuting superfield
$P^{\a i}$, which is constrained by a selfduality equation
analogous to eq. (3),
has $U(1)$ charge $-1$ and conformal spin $1$. The action of ${\sl Q}$ on the
the superfields in eqs. (5) and (6) is given by ${\partial \over \partial\theta}$.

We are now ready to establish a superspace formulation of our action.
It is not difficult to show that the  action in eq. (1) can be recast into
the following form
$$
{\cal S}(\k_1, \k_2)\,=\,\int\! d^2\s d\theta\;\Bigl( -{\k_1 \over 4}\,
P^{\a i}D_{\theta} P_{\a}^{\; j}\,
g_{i j}(\phi) + \k_2\,P^{\a i}\partial_{\a}\phi^{j}\, g_{i j}(\phi)\Bigr)\, ,
\eqno (7)
$$
where
$D_{\theta}P^{\a i}\,=\, \partial_{\theta}P^{\a i} + \partial_{\theta}\phi^{j}
\Gamma^{i}_{j k} P^{\a k}$. One recovers the superspace action of ref.
\cite{3} by setting $\k_1\,=\,\k_2\,=\,1$ in eq. (7),
whereas $\k_1=0,\k_2=1$ corresponds to a superspace formulation
of the ``delta gauge'' action introduced in
ref. \cite{4}. Notice that the action in eq. (7) has $U\,=\,0$ and
that it is superconformal invariant, as required.

Our next move will be the computation of the beta functions of our model for
generic values of $\k_1$ and $\k_2$. We shall quantize the model by
using the background field method \cite{8}. It is a lengthy,
though straightforward, computation to carry out the expansion of the
action ${\cal S}(\k_1, \k_2)$ around the isolated background field configurations
$\overline{\phi}^{i}$ and $\overline{P}^{\a i}$; the latter corresponding to the full quantum
superfields $\phi^{i}$ and $P^{\a i}$, respectively. However, to unveil the
one-loop ultraviolet divergent structure of our model, and carry out its
renormalization, we need only to consider the following contributions
$$
\overline{{\cal S}}(\k_1, \k_2)\,=\,\int\! d^2\s d\theta\;\Bigl( -{\k_1 \over 4}\,
\overline{P}^{\a i}D_{\theta} \overline{P}_{\a}^{\;\, j}\,
g_{i j}(\overline{\phi}) + \k_2\,\overline{P}^{\a i}\partial_{\a}\overline{\phi}^{j}\, g_{i j}(\overline{\phi})
\Bigr)\, ,
\eqno (8)
$$
$$
{\cal S}_{\rm prop}(\k_1, \k_2)\,=\,\int\! d^2\s d\theta\;\Bigl( -{\k_1 \over 4}\,
{\cal P}^{\a i}D_{\theta} {\cal P}_{\a}^{j}\,
g_{i j}(\overline{\phi}) + \k_2\,{\cal P}^{\a i}D_{\a}\xi^{j}\,  g_{i j}(\overline{\phi})
\Bigr)\, ,
\eqno (9)
$$
$$
\eqalignno{
&{\cal S}_{\rm int}(\k_1, \k_2)\,=\, \int\! d^2\s d\theta\,\Bigl\{\Bigl[
 -{\k_1 \over 4}\,
\overline{P}^{\a i}D_{\theta} \overline{P}_{\a}^{j}\,\Bigl(
-{1\over 2} J^{m}_{\quad\!  i} D_k D_l J_{j m} + {1\over 3} R_{iklj}\cr
& - {1\over 2}
D_k J^m_{\quad\! i} D_l J_{j m} \Bigr)+
\k_2\,\overline{P}^{\a i}\partial_{\a}\overline{\phi}^{j}\,\Bigl(
-{1\over 4} J^m_{\quad\! i} D_k D_l J_{jm} + {7\over 12} R_{iklj} \cr
&+ {1\over 12}
R_{mkln}J^n_{\quad\! i} J^m_{\quad j}
- {1\over 8} D_k J^m_{\quad\! i} D_l J_{jm}\Bigr)\Bigr]\xi^k \xi^l+\cr
&J^{m}_{\quad\! k}D_l J^i_{\; m}\,\Bigl(
{\k_1 \over 2}\,\overline{P}^{\a k}D_{\theta}
{\cal P}^{\; j}_{\a} - {\k_2 \over 2}\,{\cal P}^{\a k}\partial_{\a}\overline{\phi}^{j}\Bigr)
\, g_{i j}(\overline{\phi}) \xi^l+\k_2\,
D_k \overline{P}^{\a i} D_{\a}\xi^j\, \xi^k\,g_{i j}(\overline{\phi})\Bigr\}
\; . & (10)\cr
}
$$
The fields $\xi^i$ and ${\cal P}^{\a i}$ embody the quantum fluctuations around the
background fields $\overline{\phi}^i$ and $\overline{P}^{\a i}$, respectively. In the
background field quantization procedure, one integrates over
$\xi^i$ and ${\cal P}^{\a i}$  to obtain the effective action \cite{3}.

Integrating out the fields $\xi^i$ and ${\cal P}^{\a i}$ in ${\cal S}_{\rm int}$ with the
Boltzman factor provided by ${\cal S}_{\rm prop}$ one easily obtains the
following one-loop ultraviolet divergent contribution
to the effective action $\Gamma[\overline{\phi},\overline{P}]$
$$
\Gamma_{\rm div} [\overline{\phi},\overline{P} ; \k_1,\k_2]\,=\,
\int\! d^2\s\; d\theta\,\Bigl( -{\k_1 \over 4}\,
\overline{P}^{\a i}D_{\theta} \overline{P}_{\a}^{j}\, {\cal K}^{(1)}_{i j}+
\k_2\, \overline{P}^{\a i}\partial_{\a}\overline{\phi}^{j}\, {\cal K}^{(2)}_{i j}\Bigr)\; ,
\eqno (11)
$$
with
$$
\eqalignno{
{\cal K}^{(1)}_{i j}\,=&\,
{(\k_1 / \k_2^2) \over 2\pi\epsilon}\Bigl( -{1 \over 2}
 J^m_{\quad\! i} D_k D^k J_{j m}
- {1\over 3} R _{i j} - {1\over 2} D_k J^m_{\quad\! i} D^k J_{j m}
\Bigr)\; ,\cr
{\cal K}^{(2)}_{i j}\,=&\,
{(\k_1 / \k_2^2) \over 2\pi\epsilon}\Bigl( -{1 \over 4}
 J^m_{\quad\! i} D_k D^k J_{j m}
+{7\over 12} R _{i j} - {1\over 8} D_k J^m_{\quad i} D^k J_{j m}
- {1\over 2} R_{m n} J^n_{\;\; i} J^m_{\quad\! j}\Bigr)\; .& (12)\cr
}
$$
The symbol $\epsilon$ stands for the standard dimensional regularization
regulator. We have taken the manifold $\Sigma$ to be flat. The parameter
$\k_2$ cannot be set to zero, otherwise the free propagator will not
exist.

Eqs. (8), (11) and (12) furnish the tree-level and one-loop
ultraviolet divergent contributions to the effective action. To
subtract these divergences we will first  express the bare objects
$g_{i j}$, $J^i_{\; j}$ and $\overline{P}^{\a i}$ in
terms of the corresponding renormalized objects
$$
g_{i j}\,=\, \mu^{-\epsilon} (g^{(r)}_{i j} - \delta g_{i j} )\, ,
J^i_{\; j}\,=\, \mu^{-\epsilon} (J^{(r)\, i}_{\quad\,\; j} -
\delta J^i_{\; j} )\, ,
\overline{P}^{\a i}\,=\, \overline{P}^{(r)\, \a i} - \delta \overline{P}^{\a i}\; ,
\eqno (13)
$$
and, then, we will substitute eqs. (13) back in eq. (8).
The symbol $\mu$ of eq. (13) being
the renormalization scale. As it turns out, renormalization is achieved if
$$
\eqalignno{
&\delta g_{i j}\, =\, {(\k_1 / \k_2^2) \over 2\pi \epsilon }\,\Bigl(
{5\over 6} R_{i j} + {1\over 6} J^k_{\;\, i} R_{kl} J^l_{\; j}
- {1\over 4} D_kJ^l_{\; i} D^k J_{j l}\Bigr)\; ,\cr
&\delta \overline{P}^{\a i}\, =\,{(\k_1 / \k_2^2) \over 2\pi \epsilon }
\overline{P}^{\a k} \Bigl( {1\over 4} J^m_{\quad\! k} D_l D^l J^i_{\; m}
- {1\over 4} R_k^i -
{1\over 12} J^m_{\quad\! k} R_{m l} J^{l i} +
{3\over 8} D_m J^l_{\; k} D^m J^i_{\; l}\Bigr)\; .
& (14)\cr
}
$$
The fact that both $\overline{P}^{\a i}$ and $\overline{P}^{(r)\, \a i}$ ought to be selfdual
leads to the following one-loop constraint
$$
\delta \overline{P}^{\a i}\, =\, \vep^{\a}_{\;\b}
J^{(r)\, i}_{\quad\;\, j}\,\delta \overline{P}^{\b j}+
    \vep^{\a}_{\;\b}\, \delta J^{i}_{\; j}\overline{P}^{(r)\, \b j}
$$
By solving the preceding equation for $\delta J^i_{\; j}$, one obtains
$$
\delta J^i_{\; j}\, =\, {(\k_1 / \k_2^2) \over 2\pi\epsilon}\Bigl(
-{1\over 3} R^i_k J^{(r)\,k}_{\quad\;\,\, j} +
{1\over 3} J^{(r)\,i}_{\quad\;\, k}
R^k_j+ {1\over 2} D^k D_k J^{(r)\, i}_{\quad\;\, j}
-{3\over 4} J^i_{\;l}D^m
J^{(r)\, l}_{\quad\;\, k}D_m J^{(r)\, k}_{\quad\;\,\, j}\Bigr)\; .
\eqno (15)
$$
One may show that both the bare tensor $J^i_{\; j}$  and
the renormalized tensor $J^{(r)\, i}_{\quad\;\, j}$ are
almost complex structures over $M$, modulo two-loop corrections. Indeed,
if, say, $J^{(r)\, i}_{\quad\;\, j}$ is an almost complex structure over M,
the correction $\delta J^i_{\; j}$ in eq. (15) obeys the one-loop consistency
condition
$$
J^{(r)\, i}_{\quad\;\, k}\, \delta J^k_j +
\delta J^i_{\; k}\, J^{(r)\, k}_{\quad\;\; j}\,=\, 0.
$$

  We next introduce the beta function $\b^{g}_{i j}$ of the metric and
the beta function $\b^{J\, i}_{\quad j}$ of the almost
complex structure as usual:
$$
\b^{g}_{i j}\, =\, \mu\; {\partial g^{(r)}_{i j}\over \partial \mu},\;
\b^{J\, i}_{\quad j}\, =\,
\mu\; {\partial J^{(r)\, i}_{\quad\;\; j}\over \partial \mu}
$$
Eqs. (13), (14) and (15) lead to
$$
\eqalignno{
&\b^{g}_{i j}\, =\,- {(\k_1 / \k_2^2) \over 2\pi}\Bigl(
{5\over 6} R_{i j} +
{1\over 6} J^k_{\;\, i} R_{k l} J^l_{\; j}-{1\over 4}
D_k J^{l}_{\;i} D^k J^{j l}\Bigr)\; ,\cr
&\b^{J\, i}_{\quad j}\, =\,- {(\k_1 / \k_2^2) \over 2\pi}\Bigl(
-{1\over 3} R^i_k J^k_{\;\, j} +
{1\over 3} J^i_{\; k} R^k_j +
{1\over 2} D^k D_k J^i_{\; j}
-{3\over 4} J^i_{\; m}D^k J^m_{\quad\! l}D_k J^l_{\;j}\Bigr)\; .&(16)\cr
}
$$
We have dropped the superscript $r$ from all objects in the preceding
equations to simplify the notation; they are renormalized objects though.

Let us summarize. We have  shown that   both beta functions
$\b^g_{i j}$ and $\b^{J\, i}_{\quad j}$ depend on the
gauge parameters $\k_1$ and $\k_2$. These parameters are the
coefficients of the two ${\sl Q}$-exact terms that constitute the classical
action our model. The beta functions are thus  ``gauge'' dependent
artifacts. Their value should not affect, therefore, the vacuum
expectation values of the observables of the model. Notice that
if we set $\k_1\, =\,\k_2\, =\, 1$ in eq. (16) we will retrieve the beta
functions for the action in ref. \cite{1}, which were computed in
ref. \cite{3}. If we send $k_1$ to zero, so as to obtain the ``delta
gauge'' action, the beta functions in eq. (16) will also approach zero.
We have thus shown that the beta funstions in ref. \cite{3} can be
connected to the beta functions in ref. \cite{4} by
means of smooth curves.
Also notice that, at variance with topological Yan-Mills
theories \cite{2}, the renormalization of the model at hand
cannot  be carried out by a mere renormalization of its
 ``gauge'' parameters $\k_1$ and $\k_2$. We would also like to
mention that the counterterm structure we have worked out
is consistent with a Mathai-Quillen interpretation of the renormalized
theory, provided the unregularized model have such an
interpretation \cite{9}.

  A final comment. Since we have computed one-loop beta functions,
we have not paid any attention to a rigorous discussion
of the regularization of the model by means of dimensional
regularization. Higher loop computations will certainly
demand such a discussion \cite{10}.

\section{Acknowledgments}
\frenchspacing

C.P. Mart{\'\i}n acknowledges partial finacial support from CICyT.

\section{References}

\frenchspacing

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\refno3.
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\refno4.
D. Birmingham and M. Rakowski, Modd. Phys. Lett. {\bf A 6} 129(1991).

\refno5.
E. Witten, Int. J. Mod. Phys. {\bf A 6} 2775(1991).

\refno6.
J.M.F. Labastida and P.M. Llatas, Nuc. Phys. {\bf B379} 220(1992).

\refno7.
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\refno8.
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\refno9.
S. Cordes, G. Moore and S. Ramgoolam, {\it Lectures on 2-d Yang-Mills theory,
equivariant cohomology and topological field theories}, {\tt hep-th/9411210}.

\refno10.
M. Bos, Phys. Lett. {\bf B189} 435(1987);
H. Osborn, Ann. Phys. {\bf 200} 1(1990).

\bye

redpajama_set_name: RedPajamaArXiv


text:
SADISTIK
EQUAL VISION(EVR385CD)
An alternative rap artist based in Seattle, Washington, Sadistik -- born Cody Foster in Yakima -- takes pride in his deep, cerebral, and complicated rhyming style. A graduate of Central Washington University, he released his first album, The Balancing Act, in 2008, with guest appearances from Vast Aire and Mac Lethal. Ceschi and David Ramos signed the rapper to their Fake Four label, where a follow-up, "Flowers for My Father", was released in 2013. Sadistik quickly returned with another Fake Four album, "Ultraviolet", the next year. Boosted by appearances from Sticky Fingaz and Tech N9ne, as well as a posthumous verse from Eyedea on the track "Chemical Burns," the album reached Billboard's Heatseekers chart shortly after its street date. After issuing a pair of EPs -- 2015's "Phantom Limbs" (a collaboration with Kno of CunninLynguists) and 2016's Salo Sessions -- Sadistik released his fourth full-length, Altars, in April 2017.
1. Voodoo Dali
2. God Complex
3. Free Spirits
4. Roaches
5. Honeycomb
7. Salem Witches
8. Sacrifice
10. Molecules
12. Silhouettes
Label : EQUAL VISION
Item no. : EVR385CD
EAR CANDY
KNUCKLES CUT-OUT
PTCH £3.50
ESOGENESI
PAVLOV'S DOG
THE PEKIN TAPES
STRANGLERS, THE
IN THE NIGHT LIMITED EDITION
ORDER OF THE KITE VOL. 1

redpajama_set_name: RedPajamaCommonCrawl


text:
О́блино — деревня в Вышневолоцком районе Тверской области. Относится к Дятловскому сельскому поселению. До 2006 года входила в состав Осечновского сельского округа.

От города Вышнего Волочка — 32 км на восток, в 5 км к югу — село Осечно, в 4 км к северо-востоку — посёлок Овсище.

В 1 км к западу от деревни — озеро Городно (Городня).

Население по переписи 2002 года — 13 человек, 4 мужчины, 9 женщин. В деревне около десятка домов.

История
В Списке населенных мест Тверской губернии 1859 года в Вышневолоцком уезде значится удельная деревня Облино (40 вёрст от Вышнего Волочка, 24 двора, 122 жителя).

По данным 1886 года в деревне Облино Осеченской волости Вышневолоцкого уезда 25 дворов, 125 жителей. В это время деревня в приходе Покровской церкви села Озеряево. Население деревни — тверские карелы.

В 1940 году деревня Облино в Ермолкинском сельсовете Вышневолоцкого района Калининской области. В годы Великой Отечественной войны на фронтах погибли 9 жителей деревни.

В 1970-80-е годы Облино в составе совхоза «Осеченский». В 1997 году — 5 хозяйств, 11 жителей.

Достопримечательности
В Государственном списке памятников истории и культуры Тверской области местного значения значится селище сер. I тыс.н. э. (Восточный берег оз. Городня, 1,3 км к З-Ю-З от д. Облино, лес).

Примечания

Ссылки

Населённые пункты Вышневолоцкого района

redpajama_set_name: RedPajamaWikipedia


text:
Support MPN
GAZA Fights Back
How The Empire Controls The Narrative, With Margaret Kimberly
In the latest edition of "The Most Censored News" interviews, Lee Camp is joined by Margaret Kimberly. A well-known figure in activists circles in the United States, Margaret is the executive editor of and a senior columnist at Black Agenda Report (BAR). BAR's website offers alternative perspectives on current events and has become a trusted source for those seeking information beyond the mainstream media. In addition to her work at BAR, Kimberly is also the author of "Prejudicial: Black America and the Presidents," a book that was published in 2020 by Steerforth Press.
Camp and Kimberly talked about the U.S.-Russia prisoner swap between Brittney Griner, a star American basketball player and former prisoner in Russia, and Victor Bout, a Russian arms dealer. The trade garnered significant attention from the mainstream media, but Kimberly highlighted the deeper issues at play in the situation. Bout has a complicated history in the arms trade, having shipped various goods, including arms, all over the world following the collapse of the Soviet Union in the 1990s. He was eventually arrested in Thailand in 2008 in a sting operation set up by the U.S, in which agents posed as Colombian rebels and convinced Bout to agree to kill Americans.
In 2011, after several years of fighting extradition, Bout was brought to the United States and found guilty in a trial. He was sentenced to 25 years in prison, with the judge stating that she felt the sentence was excessive but was required to impose it due to mandatory minimum sentences.
Griner, on the other hand, was arrested in Russia for carrying CBD oil in her suitcase, a violation of Russia's strict laws on marijuana. As a black woman standing at six feet nine inches, Griner faced disproportionate scrutiny and her case gained significant attention. However, the Russian government had been requesting a prisoner swap with the U.S. for years, offering to trade Griner for Bout. The U.S. had previously refused this offer, but Griner's case provided an opportunity to finally agree to the swap. Kimberly therefore concluded that Griner was essentially being used as a pawn in a larger political game between the U.S. and Russia.
Kimberly also discussed the broader issues at play in the current geopolitical landscape, including the decline of American global dominance and the rise of China as a major player on the world stage. She pointed out that while China is pursuing its own economic and strategic interests, it is doing so in a way that is more subtle and less violent than the U.S. has in the past. This difference in approach has led some countries to view China as a more attractive partner, as they do not have to worry about military intimidation or interference in their internal affairs.
Kimberly also discussed the ongoing conflicts in Syria and Libya, and the role that the United States and its allies have played in exacerbating these crises. She argued that the U.S. has a history of backing violent extremist groups, including jihadists and Neo-Nazis, in order to further its own interests. This has resulted in a humanitarian disaster, with millions of people being displaced and killed in these conflicts.
Kimberly's interview with Lee Camp offers a thought-provoking perspective on current events and the underlying issues at play in the global political landscape. It is a must-listen for anyone seeking a deeper understanding of the world we live in.
Lee Camp is an American stand-up comedian, writer, actor and activist. Camp is the host of Behind The Headlines' new series: The Most Censored News With Lee Camp. He is a former comedy writer for the Onion and the Huffington Post and has been a touring stand-up comic for 20 years.
Republish our stories! MintPress News is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 International License.
Shadowy US Spy Firm Promises To Surveil Crypto Users For the Highest Bidder
Catherine Perez-Shakdam: The "Israeli Spy" Who "Infiltrated" MintPress
Under Cover of War, Zelensky is Leading Ukraine's Massive Privatization Drive
Call of Duty is a Government Psyop: These Documents Prove It
Peter Beinart Leads Charge to Cancel Palestinian American Journalist Mnar Adley
© 2023 MintPress News


text:
Office completions up but construction starts down in London
London saw 3.9 million sq ft of new office space complete in the last six months, delivering the largest volume of office space in central London for 13 years.
The London Office Crane Survey, published by Deloitte Real Estate, has recorded 28 new construction starts over six months, compared to 40 in the previous survey. In terms of volume, this adds 3.2 million sq ft into the development pipeline, a rise of 13%. Despite this increase, the total office space currently under construction across the capital is 13.9 million sq ft, a 6% decrease from the previous survey's 14.8 million sq ft.
Shaun Dawson, author of the London Office Crane Survey at Deloitte, said: "The sheer volume of completed space is no surprise given the surge in development activity 18 months ago. In total 4.4 million sq ft completed in 2016 and this momentum has continued into 2017, we expect this year's annual total delivery to be the highest since 2003."
The City continues to dominate development activity with ten new schemes totalling 1.9 million sq ft taking the City's construction pipeline to 8.2 million sq ft. This represents a 7% decrease, but comes on the back of a number of large schemes having completed in the last six months. However, the largest decrease in construction activity was recorded in the West End, down 27% in six months. This is notwithstanding the addition of nearly half a million sq ft across eight schemes starting construction. Other markets remain active with Midtown and Southbank's development activity increasing by 9% and 6% respectively.
Occupier demand remains resilient with 43% (six million sq ft) of space currently under construction already let. Dawson added: "Good quality new stock is attracting significant tenant demand with ten of the new schemes starting construction already achieving leasing success and of the 3.9 million sq ft of completed space, half was pre-let. This early leasing activity has softened the impact the volume of space completing has on the market."
Trending this survey are new-builds compared to refurbishment projects. New-builds now account for the largest share the new space starting construction - 2.6m sq ft, pushing the average size up from 70,000 sq ft to 113,000 sq ft.
Nigel Shilton, managing partner at Deloitte Real Estate, added: "The decrease in overall volume of space under construction could suggest that developers have slowed down, yet this is more a result of timing and two years of elevated levels of construction completing rather than developers holding off. Demolition levels remain high at 7.9 million sq ft, which chimes with the sentiment of our surveyed contractors who expect a rise in workload over the coming 12 months. Looking at the development pipeline, we forecast around 39 million sq ft to be delivered by 2021. Very few schemes have been cancelled, highlighting continuing developer confidence."
Skills shortages and Brexit concerns to fuel tender price rises, say Arcadis
UK construction market suffers sharpest decline since March 2018
UK construction market feels chill as it braces for Brexit
Materials costs expected to rise as Brexit fuels contractors' fears of slow growth
Ramboll to lead team to develop new Liverpool cruise facility
Richard Matthews appointed Arup aviation leader for UKMEA region
Amey joins businesses campaigning to support social enterprises
Peel Group 'Leeps' into utilities sector with new joint venture operator
Gas vehicle lobby calls on new metro mayors to tackle air pollution
Optimising the future design process
Buy-outs, mergers and takeovers set to continue


text:
Biden takes first tentative steps to address global vaccine shortage
Home /General/Biden takes first tentative steps to address global vaccine shortage
Sheryl Gay Stolberg and Michael Crowley,
New York Times Service
March 13, 2021 | 10:44 AM
WASHINGTON — President Joe Biden, under intense pressure to donate excess coronavirus vaccines to needy nations, moved Friday to address the global shortage in another way, partnering with Japan, India and Australia to expand global vaccine manufacturing capacity.
In a deal announced at the so-called Quad Summit, a virtual meeting of leaders of the four countries, the Biden administration committed to providing financial support to help Biological E, a major vaccine manufacturer in India, produce at least 1 billion doses of coronavirus vaccines by the end of 2022.
That would address an acute vaccine shortage in Southeast Asia and beyond without risking domestic political blowback from exporting doses in the coming months as Americans clamor for their shots.
The United States has fallen far behind China, India and Russia in the race to marshal coronavirus vaccines as an instrument of diplomacy. At the same time, Biden is facing accusations of vaccine hoarding from global health advocates who want his administration to channel supplies to needy nations that are desperate for access.
Insisting that Americans come first, the president has so far refused to make any concrete commitments to give away U.S.-made vaccines, even as tens of millions of doses of the vaccine made by British-Swedish company AstraZeneca sit idly in U.S. manufacturing facilities.
"If we have a surplus, we're going to share it with the rest of the world," Biden said this week. "We're going to start off making sure Americans are taken care of first, but we're then going to try and help the rest of the world."
In fact, the president has a lot of work ahead of him domestically to make good on the promises he has made in recent days: that all states must make all adults eligible for vaccinations by May 1 and that enough vaccine doses will exist by the end of May to inoculate every American adult.
Vaccine supply appears on track to fulfill those goals, but the president must still create the infrastructure to administer the doses and overcome reluctance in large sectors of the population to take them.
Still, Biden has also made restoring U.S. leadership a centerpiece of his foreign policy agenda after his predecessor frayed alliances and strained relationships with allies and global partners. His secretary of state, Antony Blinken, said a global vaccination campaign would be part of that effort.
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George Floyd's family settles suit against Minneapolis for 27 million
Spacewalking astronauts tackle hoses, other station odd jobs


There are no posted opportunities at this time.
The Division of Coastal Sciences offers both M.S. and Ph.D. degrees. Information about the degree programs can be found here. Application deadlines are April 1 (for Fall admission) and October 1 (for Spring admission).
Students in the Coastal Ecology and Seagrass Biology Lab are typically funded through external research grants, however departmental fellowships are also available (see below). Assistantship opportunities will be posted on this page when they become available.
Interested students are encouraged to contact me about current and/or upcoming opportunities.
The Division of Coastal Sciences offers several graduate fellowships for exceptional applicants. You can read more about the fellowships here. I encourage you to contact me if you meet the requirements and are interested in applying for one of these fellowships.


text:
Q: How intelligent is Linq with IOrderedEnumerable and Where so let's say I have an IEnumerable dates and I want to get the dates within a range.
Is Linq and IOrderedEnumerable intelligent enough to realize the ability to choose faster algorithms given that the dates are now ordered.
So consider this:
IOrderedEnumerable<ObjectWith2DateTimes> orderedDates = dates.OrderBy(x => new Tuple(x.datetime1,x.datetime2));

...
this is called a bunch
...
    DateTime afterDateTime = (some datetime)
    DateTime beforeDateTime = (other datetime)
    yield return orderedDates.Where(x => x.datetime1 >= afterDateTime && x.datetime2 <= beforeDateTime)

If isn't smart with this implementation, is there some other implementation that would make it smart?

A: No it's not smart enough to do that. Enumerable.Where<TSource> takes a Func<TSource, bool>, not an Expression<Func<TSource, bool>> like Queryable.Where<TSource>. So you could do it with an IQueryable, but you'd need a query provider that can do that. It's probably not worth the trouble.
However, something like this should do:
orderedDates
    .SkipWhile(x => x.datetime1 < afterDateTime)
    .TakeWhile(x => x.datetime2 > beforeDateTime)

A: No; the Where operator has no idea what your predicate does; it just knows to invoke a delegate that tells it whether to include an item in the result set.  It would be possible for a query provider to do this with IOrderedQueryable, as the query provider would be able to analyze the expression tree.  I do not know if any query providers actually do that kind of analysis.

A: No. Where extension method does simple, linear search over all items in your collection and returns element if it follows your predicate. You can think of it as:
foreach(var item in source)
    if(predicate(item))
        yield return item;

A: LINQ-to-objects works with delegates and treats them as blackboxes. So it does not know that your where condition has any relation to the earlier ordering operation. So it does not perform this optimization.
It's even worse than that, the sorting will be done each time you evaluate the query, even if it's shared. You need to materialize it with ToArray or ToList. Then you can use the built-in binary search function to speed this up.

redpajama_set_name: RedPajamaStackExchange


text:
"""
A example script to automatically send messages based on certain triggers.

The script makes uses of environment variables to determine the API ID,
hash, phone and such to be used. You may want to add these to your .bashrc
file, including TG_API_ID, TG_API_HASH, TG_PHONE and optionally TG_SESSION.

This script assumes that you have certain files on the working directory,
such as "xfiles.m4a" or "anytime.png" for some of the automated replies.
"""
from getpass import getpass
from collections import defaultdict
from datetime import datetime, timedelta
from os import environ

import re

from telethon import TelegramClient
from telethon.errors import SessionPasswordNeededError
from telethon.tl.types import UpdateNewChannelMessage, UpdateShortMessage, MessageService
from telethon.tl.functions.messages import EditMessageRequest

"""Uncomment this for debugging
import logging
logging.basicConfig(level=logging.DEBUG)
logging.debug('dbg')
logging.info('info')
"""

REACTS = {'emacs': 'Needs more vim',
          'chrome': 'Needs more Firefox'}

# A list of dates of reactions we've sent, so we can keep track of floods
recent_reacts = defaultdict(list)

def update_handler(update):
    global recent_reacts
    try:
        msg = update.message
    except AttributeError:
        # print(update, 'did not have update.message')
        return
    if isinstance(msg, MessageService):
        print(msg, 'was service msg')
        return

    # React to messages in supergroups and PMs
    if isinstance(update, UpdateNewChannelMessage):
        words = re.split('\W+', msg.message)
        for trigger, response in REACTS.items():
            if len(recent_reacts[msg.to_id.channel_id]) > 3:
                # Silently ignore triggers if we've recently sent 3 reactions
                break

            if trigger in words:
                # Remove recent replies older than 10 minutes
                recent_reacts[msg.to_id.channel_id] = [
                    a for a in recent_reacts[msg.to_id.channel_id] if
                    datetime.now() - a < timedelta(minutes=10)
                ]
                # Send a reaction
                client.send_message(msg.to_id, response, reply_to=msg.id)
                # Add this reaction to the list of recent actions
                recent_reacts[msg.to_id.channel_id].append(datetime.now())

    if isinstance(update, UpdateShortMessage):
        words = re.split('\W+', msg)
        for trigger, response in REACTS.items():
            if len(recent_reacts[update.user_id]) > 3:
                # Silently ignore triggers if we've recently sent 3 reactions
                break

            if trigger in words:
                # Send a reaction
                client.send_message(update.user_id, response, reply_to=update.id)
                # Add this reaction to the list of recent reactions
                recent_reacts[update.user_id].append(datetime.now())

    # Automatically send relevant media when we say certain things
    # When invoking requests, get_input_entity needs to be called manually
    if isinstance(update, UpdateNewChannelMessage) and msg.out:
        if msg.message.lower() == 'x files theme':
            client.send_voice_note(msg.to_id, 'xfiles.m4a', reply_to=msg.id)
        if msg.message.lower() == 'anytime':
            client.send_file(msg.to_id, 'anytime.png', reply_to=msg.id)
        if '.shrug' in msg.message:
            client(EditMessageRequest(
                client.get_input_entity(msg.to_id), msg.id,
                message=msg.message.replace('.shrug', r'¯\_(ツ)_/¯')
            ))

    if isinstance(update, UpdateShortMessage) and update.out:
        if msg.lower() == 'x files theme':
            client.send_voice_note(update.user_id, 'xfiles.m4a', reply_to=update.id)
        if msg.lower() == 'anytime':
            client.send_file(update.user_id, 'anytime.png', reply_to=update.id)
        if '.shrug' in msg:
            client(EditMessageRequest(
                client.get_input_entity(update.user_id), update.id,
                message=msg.replace('.shrug', r'¯\_(ツ)_/¯')
            ))

if __name__ == '__main__':
    session_name = environ.get('TG_SESSION', 'session')
    user_phone = environ['TG_PHONE']
    client = TelegramClient(
        session_name, int(environ['TG_API_ID']), environ['TG_API_HASH'],
        proxy=None, update_workers=4
    )
    try:
        print('INFO: Connecting to Telegram Servers...', end='', flush=True)
        client.connect()
        print('Done!')

        if not client.is_user_authorized():
            print('INFO: Unauthorized user')
            client.send_code_request(user_phone)
            code_ok = False
            while not code_ok:
                code = input('Enter the auth code: ')
                try:
                    code_ok = client.sign_in(user_phone, code)
                except SessionPasswordNeededError:
                    password = getpass('Two step verification enabled. '
                                       'Please enter your password: ')
                    code_ok = client.sign_in(password=password)
        print('INFO: Client initialized successfully!')

        client.add_update_handler(update_handler)
        input('Press Enter to stop this!\n')
    except KeyboardInterrupt:
        pass
    finally:
        client.disconnect()

redpajama_set_name: RedPajamaGithub


text:
English Electric Dick Kerr pour les tramways - Système de commande du pilote, le tramway de Lisbonne
RMID de l'image:PCTA6N
Tony Smith / Alamy Banque D'Images
PCTA6N
Dick, Kerr and Company was a locomotive and tramcar manufacturer based in Kilmarnock, Scotland and Preston, England. W.B. Dick and Company was founded in 1854 in Glasgow by William Bruce Dick. The company were initially oil refiners and manufacturers of paint used for coating the bottom of ships. They had depots and works in Glasgow, Liverpool, Newcastle, Barrow-in-Furness, Cardiff and Hamburg by 1890. From 1883 the company joined with John Kerr and under its new name, expanded into tramway equipment and rolling stock and built around fifty locomotives up to 1919. In 1890 it took limited company status, as railway and tramway appliance makers and as iron and steel founders and electricians. There was a public offer of shares to acquire the engineering and contracting company of the same name - reasons given were the advancing years of the senior partner and the need for investment to expand the works at Kilmarnock including a modern iron and steel foundry. Until the late 1890s the company had largely produced steam tram engines, but soon afterwards it became one of the largest manufacturers of electric tramway cars. The company facilities in Preston, Lancashire, were acquired in 1893 along with the railway and tramway plant activities of Hartley, Arnoux and Fanning who had been bought out by Kerr Stuart and Company. In 1917 they acquired the United Electric Car Company of Preston.
@hotpixukanglais électriquede tramwayéquipement de tramwayfabricant de tramwaysgotonysmithkerrkilmarnocktramwayvoiture de tramway


A Tunisian woman walks past graffiti which reads, "Freedom is a daily practice" in Tunis in 2011.
For activists, writers, journalists and concerned individuals around the globe committed to defending free expression, advocacy can be risky business: peaceful demonstrations can evolve into violent clashes with police; sensitive publications can be the source of government intimidation, imprisonment or worse.
In many countries where such violations of free expression go unpunished, the problem of impunity can be even greater for female rights advocates. In honour of International Women's Day (March 8), we asked two women profiled in IFEX's 2013 impunity campaign – Doaa Eladl of Egypt and Yorm Bopha of Cambodia – to tell us what motivates them, and to share some advice.
Doaa Eladl is an Egyptian cartoonist who has fielded death threats and blasphemy charges for her provocative drawing depicting sexual harassment and religious fundamentalism. Read more about Doaa's story here.
What motivates you to defend and promote free expression?
Because I am convinced that it is every human being's right to express themselves freely, and because we haven't yet attained that freedom completely in our society.
Based on your experience in Egypt, what advice do you have for women who also wish to advocate for free expression in the current context?
To be honest, I find that I should present myself with my own advice first, before offering it to other women. Change for the better and getting to a point where other people's opinions are respected is going to take a lot of effort, and maybe time as well. In so many instances, we find ourselves falling into despair and losing hope. So I tell myself that before I advise another woman I must do everything in my power without expecting or waiting for quick results, and without falling into that hole of despair. That is what I remind myself of every day as I draw about the issues that women face not just in Egypt and the region but in the world as a whole.
Yorm Bopha is a land rights activist from Cambodia who has suffered multiple beatings and direct threats for her continued advocacy for those being forcefully evicted from the Beoung Kak Lake, the site of a vicious land conflict that has persisted for seven years. Along with ten fellow land rights advocates, Yorm was arrested and temporarily imprisoned in January 2014. Read more about Yorm's story here.
I was one among the victims that suffered from the development project of a private company, Sukaku Inc, and this suffering pushed me to stand up and start speaking out. Also, there are only a few Cambodian women who dare to participate in politics or other advocacy activities, because according to tradition women are supposed to stay home, to take care of the house, the children and the family. This is the reason that I am fighting to promote free expression-- because I want to push Cambodian women to speak the truth. Because if we don't speak, no one will know about our problems and no one can help us. Being a vocal person I face a lot of risks, such as being murdered, or jailed, and other risks too -- but these do not discourage me.
Based on your experience in Cambodia, what advice do you have for women who also wish to advocate for free expression in the current context?
To all the women in Cambodia, please do not think that your role is only being a housewife. Participate in society and express yourself. We cannot stay quiet. This time the community of Beoung Kak is facing challenges, but in the future other communities will be facing these kinds of challenges as well. If we see that what the government is doing is wrong, we need to speak out to correct it, because we all have the right to freedom of expression.


In 1992, Todd Thomas traveled to meet his brother in Tennessee to attend their grandmother's funeral. Shortly after returning from that trip, his brother passed away unexpectedly.
That story ultimately took the form of the song "Tennessee," from Arrested Development's first album 3 Years, 5 Months & 2 Days in the Life Of... in 1992. It's a song which sees Thomas (as rapper Speech) attempt to process the grief of losing two close family members within the structure of a song centered around what turned out to be a life changing trip south.
Arrested Development's debut as an alternative hip hop group put them alongside acts like A Tribe Called Quest and De La Soul as an Afrocentric alternative to the gangsta rap that was beginning to dominate the charts as it crossed over to mainstream success in the early 90s.
In the rich tradition of sampling - an art form which re-imagines sounds from other songs in a new one - that long defined the evolution of hip hop, and marked some of the genre's finest recorded moments, "Tennessee" was based on a brief vocal sample from Prince's "Alphabet Street."
The group ultimately settled with Prince after failing to clear the "Alphabet Street" sample prior to the release of "Tennessee." And it reportedly cost them about $100,000. Today, Speech is an outspoken advocate for not just stricter sampling laws but sampling legislation period.
"I would like to see some type of literal structure to the sampling rules. There is none," said the rapper. "So, what ends up happening, and has happened, is they've killed hip hop. If you look at the present day, mainstream hip hop, most of the artists aren't using samples. The reason is because you never know how much you're going to get charged for it," Speech continued.
As he shines a light on the need for clarity in the ongoing music quandary that is sampling, Speech also continues to try and push music forward by helping artists self distribute their material. In 2016, Arrested Development released a pair of albums, one of which, Changing the Narrative, is available for free download as a mixtape at the group's website, a concerted effort to skirt the lack of sampling legislation by sampling without profiting directly off of it.
Changing the Narrative continues the group's long socially aware history of crafting music with a message. In divisive times where music no longer drives the culture, Speech hopes for better.
"I want to try and change that reality... I feel it's utterly important for music to drive the narrative of culture... I think we've got to get back to changing the narrative instead of just accepting the narrative that's already out there or exasperating it," Speech said. "That's one of the reasons we continue to do new music is to try and change the narrative."
Long outspoken about prison reform, Speech's most recent artistic venture is a documentary film, with an accompanying soundtrack, called 16 Bars which debuted earlier this month in California at the Doclands Film Festival. The film documents process as the rapper creates new music with inmates during a stay at a jail in Richmond, Virginia.
"I don't even remember the last time I rocked Chicago," said the Milwaukee native of Wednesday night's Arrested Development show at House of Blues. "I'm really looking forward to this show. It's a big deal."
Q. Your music over the years has sort of played the role that I think folk music kind of did in the 60s in terms of being socially aware and delivering a message. Who were some of the first artists you were exposed to growing up who were socially conscious and using music as a vehicle for change? Who inspired you early on in that way?
Speech: Ironically, it took me a long time. I was exposed to a little bit of a message from people like Grandmaster Flash and The Furious Five with "The Message." And "New York New York." Or stuff like that.
But really where it connected with me was Public Enemy's Yo! Bum Rush The Show album or the It Takes a Nation of Millions to Hold Us Back album.
Or like Jungle Brothers for instance.
And KRS-One's "You Must Learn" and "Stop the Violence." All this type of stuff. [His] By All Means Necessary album [with Boogie Down Productions]. These type of records really started to play the biggest role for me.
Then, later, I would discover Bob Marley. Which is very ironic to fans of ours. Because they would think I've been on Bob Marley forever.
Same with Sly Stone. The first time I really got into Sly Stone was when I was sampling stuff for the "People Everyday" album. That was the first time I was really getting deep into Sly Stone.
Q. What's interesting about that is that whether it's the folk music of the 60s or the hip hop of the 80s that you mentioned, music really drove culture then. Today, I think culture is so divided that I think it's a lot harder for new music with a message to resonate. How do you try and deal with that reality as an artist writing new music?
Speech: I want to try and change that reality. So, for me, I feel it's utterly important for music to drive the narrative of culture.
I think artists in general – not just music but visual arts, television shows, so on and so forth – I think we've got to get back to changing the narrative instead of just accepting the narrative that's already out there or exasperating it. So I think that art is very important.
That's one of the reasons we continue to do new music is to try and change the narrative. In fact, we released an album called Changing the Narrative because of that fact.
Q. You grew up in the church. And there's little catchier musically than church hymns, choruses and refrains. How did those experiences impact you musically down the line?
Speech: Honestly, I used to dislike church as a kid. And I really thought church was powerless. And hypocritical. And then, as I got to be an adult, the messages of church – or really more so the messages of the bible itself – resonated with me.
From a musical standpoint, I think being from Milwaukee – so right near Chicago – but when I used to spend my summers in Tennessee, their church experiences were so much more vibrant than a lot of the stuff I experienced in Milwaukee. And because of that vibrant musical experience in the south, I think it had a lot to do with opening my mind up to how broad hip hop could become.
Our first single ["Tennessee"] did things that had never been done before in hip hop. First of all, rhyming with a melodic rock style had never been done throughout a whole song in a hip hop song to my knowledge. I've never heard it. Then, having - on a hip hop song with samples and scratching and hip hop music – having a sister do a solo, an entire singing solo, had never been done to my knowledge either in hip hop. Not just on the chorus but doing an entire solo and just really blowing and going all in.
So, I feel like we brought a lot of things to the table because of our exposure to the, southern especially, religious experience.
Q. You started releasing music independently and still do via Vagabond. And you were kind of ahead of the curve on that. I would imagine the most difficult hurdle there is distribution but even that's kind of become a more level playing field now with the internet. While I'm sure it's more challenging, what have the benefits of working independently for you, vs being beholden to a label, been?
Speech: The main benefit is just having control.
You have the opportunity to release stuff that you really feel passionate about. You don't have to wait. You don't have to wait for someone to get your vision. And you don't have to rely on the sometimes patsy promotional efforts that labels do on your music. Sometimes they hit it on the nail and other times – in fact, a lot of times – they miss the mark. So you're sort of stuck to their whims. We don't have to stick to those. We could do our best.
And how I look at our music now is, we release an album and it's like an essay or a term paper or something. We want it to last for years. We don't look at it like, "What's our numbers in the first month?" or something. We look at it like, "What's the impact this is gonna make for the next year or two?" with every song and album we release.
Q. You were forced to pay up when "Tennessee," hit - working out an agreement with Prince for the "Alphabet St." sample. And with recent rulings like the Robin Thicke/Marvin Gaye case, it still kind of feels like the wild west a bit with no real clear sampling path for artists to follow. You've been pretty involved in the tech end of moving music forward - helping artists self distribute and advocating for updated sampling laws. What are some specific changes to sampling law that you'd like to see?
Speech: Well, exactly what you said: I would like to see some type of literal structure to the sampling rules. There is none. So, what ends up happening, and has happened, is they've killed hip hop.
Hip hop doesn't use a lot of samples. If you look at the present day, mainstream hip hop, most of the artists aren't using samples. The reason is because you never know how much you're going to get charged for it. One sample could be from, I don't know, George Clinton, and the lawyers and publishing companies may charge you forty or fifty thousand dollars for that sample. And then you can get another sample from a jazz artist and it might be two hundred dollars. There's no structure. There's no format.
So, I wish that it was more like when people cover a song. When people cover a song, there's a very strict format to how that works and it doesn't fluctuate. Everyone is under the same playing rules.
And I think that would be beneficial to artists, by the way, who we tend to sample – they could start making more money. Because sampling used to be a very big discovery tool and financial tool for a lot of artists – unfortunately more so for the publishing companies because of the deals that artists have with the publishing companies.
But artists themselves can stand, and have stood, to make a lot of money, and even resurge their career, because of artists loving their music and sampling it.
Q. I think back to all of the stuff I discovered listening to Public Enemy or [the Beastie Boys album] Paul's Boutique that I might not have otherwise stumbled onto if it weren't for the samples on those albums. When you put an album like Changing the Narrative out now, and you put it out for free, the idea there is almost to skirt the lack of sampling laws entirely, right?
Speech: Yes. That's exactly why we do it.
Well, there's two reasons: we do it for free because we want to be as creative as we want to without thinking about all the samples. And then, at the same time, we know it's a gift to our fans.
So, there's two reasons we do it.
Q. So, when you do something like that, as an artist who does need to try and make some money somewhere, how do you use something like that to monetize in other ways, be it touring or merchandise, etc.?
Speech: For us, we just want to show people that we're still relevant and have something to say. And, to me, that's the benefit. It's almost just like a promotional ad as opposed to anything else.
We don't sell the record in any form or fashion. We don't sell our videos to those records or anything. So, at the end of the day, it is just letting people know that we're making music, that we're a band we want you to be aware of and when we come to town we want you to have fun. We're going to perform some of those songs too and we want you to have fun and be aware of what we're doing.
So, it's all of those things.
Q. You and your wife kind of overhauled the Vagabond production office, turning it into a school called The Victory Spot. Music and arts in the classroom are disappearing quickly in America. What are the benefits of music and arts in the classroom for kids?
Speech: Well, it's imperative. Arts really should be part of the whole and, yes, in some places is becoming part of the whole scene situation with the sciences and all of that. We've got to get arts back in the forefront of our whole school curriculum. It's what expands your mind. It's what helps people to express better in every other area of academics.
And so, with our school Victory Spot, we see it as a benefit in a few ways. One is, it helps to change the narrative of new artists that are coming out. We actually help to give them guidance. We help them to feel free to express themselves in more ways than just what they're hearing on the radio, which is great. We help to equip them to be excellent. Because we know that excellence is going to bypass somebody sort of doing something unique and eclectic. If they're excellent, people are still going to love it. They're going to accept it. So we want to teach excellence.
And so that's what we're doing. And it's really been a great, great way to empower this new generation with the arts.
Q. You were very much on the record there for a while as saying that rap and hip hop kind of started to lose their way as the music began to glorify some of the issues and behavior it was instrumental in shining a light upon initially. With a socially aware artist like Kendrick Lamar winning a Pulitzer - the first non classical or jazz artist to do that - do you think we're turning a corner or is that strictly an anomaly?
Speech: I think it's an anomaly. We do need to turn the corner in that way.
Listen... to me, hip hop – well, music in general and entertainment in general – is literally black America's biggest export on the planet. In my opinion it is our most powerful and most influential resource.
And for quite a while, probably since the mid 90s, it has been hijacked by a corporate and correctional facility agenda that literally glorifies killing each other and gross materialism. And, of course, if gross materialism is promoted heavily, it creates the need for people to find ways to make money that are sometimes not legal – which then contributes to the whole pipeline of people going into prison for petty and for serious crimes.
It emphasizes drug use. It emphasizes the demeaning of our women. It's just really corrosive – culturally and spiritually and socially corrosive messages that are going out in large proportion. It's not very small. It's not underground stuff. It's not freedom of voice. In fact, I would say freedom of voice is being hampered. This is the primary message that is going out in our music right now and it's extremely dangerous.
And it's showing; in the amount of families that are being destroyed by drugs, imprisonment and violence. It's very much real and it's a very catastrophic reality for us right now.
Q. I think this is a simple question but I feel like we're seeing it less and less. Does music still have the power to change the world?
Speech: Music is the soundtrack for those that are going to change the world. So, yes. It gives the inspiration!
People will always have to change the world. It's up to us. Each individual has to get in the fight to help change the course of our reality. Music is supposed to be that vessel that inspires us and keeps us going.
And it used to be in past eras. And it needs to be again.


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text:
Tunnel 28 ist ein in deutsch-US-amerikanischer Coproduktion entstandenes Fluchtdrama von Robert Siodmak aus dem Jahre 1962. Diese Produktion gilt als die erste filmische Reaktion auf den Berliner Mauerbau vom 13. August 1961.

Handlung
Der Film erzählt Ereignisse nach, die sich im Januar 1962 in Ostberlin zugetragen haben. Kurt Schröder arbeitet als Fahrer des DDR-Majors Eckhardt und dessen Ehefrau Heidi. Kurt, der in Sichtweite der Berliner Mauer wohnt, hat eine Affäre mit Heidi. Eines Nachts bekommt Schröder mit, wie sein Freund Günther Jürgens versucht, mit einem Lkw die Mauer zu durchbrechen, um in den Westen zu fliehen. Dabei kommt Jürgens ums Leben. Günthers Schwester Erika sucht Günther, als dieser nicht mehr heimkehrt, und erfährt schließlich, dass Kurt ihn beim missglückten Mauerdurchbruch beobachtet hatte. Erika besucht daraufhin Kurt in dessen Haus, wo jener mit seiner Mutter, seinem Onkel Albrecht, seiner Schwester Ingeborg und dem kleinen Bruder Helmut lebt. Sie teilt ihm mit, dass auch sie beabsichtige, aus der DDR zu fliehen. Sie weiß jedoch nicht, dass ihr Bruder Günther beim Fluchtversuch ums Leben kam, und Kurt erzählt es ihr auch nicht.

Kurt hat sich in der DDR eingerichtet, er hat keine größeren Probleme. So hat er nicht die geringste Absicht, "rüberzumachen". Doch Erika glaubt in ihm einen Verbündeten zu haben und versucht auf eigene Faust in grenzenloser Naivität, einfach unter dem Stacheldraht durchzuklettern. Im letzten Moment hält Kurt sie von der zum Scheitern verurteilten Schnapsidee ab und spielt mit ihr ein Liebespaar, als sich DDR-Grenzer nähern. Mit Mühe kann der erste Verdacht gegen einen vermeintlichen DDR-Flüchtling zerstreut werden, dann aber wird im Stacheldraht ein Stück von Erikas Kleidung entdeckt. Sofort werden die Grenzwachen aktiv. Man verfolgt die Spur Erikas bis ins Haus Kurt Schröders. Der hat sie in einem Raum in einer blickgeschützten Ecke versteckt. Dieser Raum hat keinen Fußboden mehr, so dass die kontrollierenden Grenzer dort nicht weiter nach ihr suchen.

Kurt Schröder beginnt seine Haltung zum Arbeiter- und Bauernstaat zu überdenken, und fasst schließlich eine weitgreifende Entscheidung. Er will die gesamte Familie in den Westen bringen. Auch die Nachbarin Marga Wegener, deren Mann bereits im Westen ist, möchte sich anschließen. Kurt hat den Plan, einen Tunnel unter die Mauer zu graben. Er übernimmt sämtliche Planungen bis ins Detail, hat aber selbst nicht die Absicht, Ostberlin zu verlassen. Während die Kapelle von Onkel Albrecht, einem Musiker, laut spielt, wird mit den Bohrungen im Keller begonnen. Kurt stellt draußen eine Wache auf, die aufpassen soll, falls sich etwas gegen sie zusammenbraut. Zu dem verschworenen Grüppchen gesellt sich bald ein weiterer Fluchtwilliger, Walter Brunner. Während Kurt fieberhaft mit dem Bau des Tunnels beschäftigt ist, werden seine Gefühle für die blutjunge Erika immer stärker. Schließlich fasst er sich ein Herz und gesteht ihr, dass ihr Bruder Günther tot ist. Kurt versucht sie zu trösten. Er weiß jetzt, dass er gemeinsam mit Erika in den Westen fliehen wird, wenn der Tunnel fertig ist.

Am 27. Januar 1962 sind die Grabungsarbeiten abgeschlossen. Kurt ist der erste, der probeweise West-Berliner Boden betritt. In der kommenden Nacht soll die Massenflucht stattfinden. Marga Wegener begeht jedoch einen entscheidenden Fehler. Im Glauben, Erikas Eltern seien eingeweiht und mit der Flucht ihrer Tochter einverstanden, spricht sie mit denen darüber. Doch Erikas Vater, ein Hochschulprofessor, ist durch und durch linientreu und verrät den Fluchtplan Major Eckhardt. Von seiner Geliebten Heidi, der Ehefrau des Majors, erfährt Kurt, dass man bereits auf der Suche nach ihm sei. Kurt drängt daher zur Eile. Zuhause muss er auch noch feststellen, dass Onkel Albrecht einige seiner Bandmitglieder hergeholt hat, die ebenfalls fliehen wollen. Die Zahl der Tunnelflüchtlinge hat sich somit auf 28 erhöht. Die Polizei hat bereits sein Haus umstellt, als die wagemutige Flucht beginnt. Kurt will als letzter durch den Tunnel kriechen, um so von hinten zu sichern. Als ein Grenzsoldat ihn erblickt, schießt er und verletzt Kurt. Mit letzter Kraft schafft es Kurt in den Westen Berlins. Er bringt den Tunnel zum Einsturz und wird von Erika ins Freie gezogen.

Produktionsnotizen
Gedreht wurde von Mai bis Juli 1962 im Atelier Berlin-Tempelhof. Da in deutsch-amerikanischer Coproduktion entstanden, hatte der im Westen Berlins gedrehte Film auch einen US-Titel: Escape From East Berlin.

Die Uraufführung fand in Berlins Kongresshalle am 22. Oktober 1962 statt. Im darauf folgenden Monat wurde Tunnel 28 auch in den USA erstaufgeführt.

Die Filmbauten entwarfen F.-Dieter Bartels und Ted Haworth.

Kritik
Das Lexikon des Internationalen Films fand Tunnel 28 "spannend nacherzählt in einer frei erfundenen Handlung", warf aber auch ein: "Unterhaltungsroutine, nicht Zeitdokument."

Der Spiegel verriss den Film: "Obgleich drei Hollywood-Autoren und der deutsch-amerikanische Regisseur Robert Siodmak, ein gebürtiger Berliner, den eingemauerten Deutschen viel Sympathie zuwenden, erweist sich das Lichtspiel als unkünstlerisch und nicht frei von Peinlichkeiten. Die vorangespulten stummen Wochenschaubilder vom 13. August 1961 wirken ungleich stärker als die nachfolgende fade Dramatisierung. Die Dialoge zwischen den Hauptdarstellern Don Murray und Christine Kaufmann könnten bundesministeriellen Ansprachen entnommen sein."

Weblinks

Einzelnachweise

Filmtitel 1962
Deutscher Film
US-amerikanischer Film
Filmdrama
Schwarzweißfilm
Deutsche Teilung im Film
Tunnel im Film
Flucht aus der Sowjetischen Besatzungszone und der DDR


In anticipation of NFL.com's feature set to run later today naming the most overrated and underrated players in Seahawks history, Bob Condotta of the Seattle Times takes his own stab at guessing who might make their list.
Eric Williams of the Tacoma News Tribune says offseason addition Cliff Avril will be counted on to "carry the load" as the team's top pass rusher.
Danny O'Neil of 710Sports.com continues his positional preview series with a look at the loaded Seahawks backfield, and O'Neil also hosted his latest "Hawk Talk" chat yesterday afternoon, the full transcript of which can be found here.
NFL.com Around the League writer Marc Sessler ranks the NFL's Top 8 deepest backfields, and the Seahawks' quartet of Marshawn Lynch, Robert Turbin, Christine Michael, and Derrick Coleman comes in at No. 2.
Here at Seahawks.com, Clare Farnsworth wraps up his 2013 positional preview series by highlighting the club's special teams unit.
In news around the rest of the League, NFL.com columnist Adam Schein labels the New Orleans Saints as 2013's most-fascinating team – Schein pegged the Seahawks in that same position last year. The Saints and Seahawks square off in Week 13 (Dec. 2) this season on ESPN's Monday Night Football at CenturyLink Field.
NFL.com Around the League writer Chris Wesseling takes a look at which NFL records could be broken in the season ahead.
In a lighthearted piece at NFL.com, Henry Hodgson – the site's "exclusive supplemental draft expert" – has his seven-round mock of Thursday's 2013 supplemental draft.
NFL.com's NFL Total Access crew ranks the Top 10 greatest touchdown celebrations of all-time in this short video feature.
And for a bit of off-the-field news, club chairman Paul Allen's album "Everywhere At Once" is set for an August 3 release, but you can preview 13 tracks from Allen and the Underthinkers here.
Head Coach Pete Carroll addressed the media this afternoon as part of his weekly Wednesday press conference ahead of this afternoon's 2:00 p.m. practice and preparation for their Week 14 home matchup against the Arizona Cardinals.
With the four-game suspension announced for cornerback Brandon Browner for violating the League's policy on performance enhancing substances, Carroll addressed the club's situation at cornerback, starting with a reiteration of roster moves that the team announced earlier in the day.
In Browner's place, Carroll said third-year cornerback Walter Thurmond will get the first chance to start. Thurmond was active for the first time this season in the Seahawks' Week 13 road win over the Chicago Bears, working as the club's nickel corner in place of the injured Marcus Trufant, who was inactive while rehabbing a hamstring injury.
On Trufant, Carroll said he will continue to rest his hamstring and they will find out more on his status at the end of the week. So with Thurmond sliding over to one of the starting cornerback spots and Trufant's status uncertain for Week 14, Carroll said rookie cornerback Jeremy Lane will get the first crack as the club's nickel corner. Lane has impressed this season, successfully downing punts and securing good field position in the "gunner" role on special teams.
Carroll said that second-year cornerbacks Byron Maxwell and Ron Parker, who was recently signed to the active roster from the Carolina Panthers' practice squad, and rookie cornerback DeShawn Shead, who was recently promoted from the club's practice squad to the active roster, will be in competition for work as the team's fourth cornerback.
Carroll discussed the move of offensive guard James Carpenter to the reserve/non-football illness list, emphasizing that the former first round draft pick will be fine in the long haul, but with lingering injuries to his knee and having suffered a concussion this year they decided to end his season. Carroll said that no surgery would be required on Carpenter's knee.
Carroll said wide receiver Sidney Rice passed concussion evaluations and has been cleared to practice today, but will be limited.
"We're counting on him playing," Carroll said of Rice.
Linebacker Leroy Hill will also be limited today with an ankle injury. Carroll mentioned that second-year linebacker Malcolm Smith, who played well in place of Hill last Sunday in Chicago, has a chance to challenge Hill for the starting job.
"It's a beautiful thing," Carroll said of the competition between Hill and Smith.
Carroll said that defensive end Red Bryant will not practice today, insisting that he needs another day of rest for a plantar fasciitis (foot) injury.


text:
Q: How to check all checkboxes if they have value in url? I have this url :
http://test.dev/search?publishing_types%5B%5D=Selling&prop_category%5B%5D=Apartment+%26+housing&priceFrom=0&priceTo=300000&areaFrom=0&areaTo=300000&yearFrom=1900&yearTo=2017

In fuction i check full url and i want to add checkbox for that value if exists in url. Any suggesion?
  function existingUrl(fullUrl){
          $('.dataurl').each(function(){
            var hasValue =  fullUrl.indexOf($(this).val());
            if(hasValue != -1)
              this.checked = true;

        });
      }

HTML:
  @foreach($prop_types as $index => $prop_type)

        <input type="checkbox" class="preventUncheck dataurl" name="publishing_types[]" id="toggle-on{{ $index }}" value="{{ $prop_type }}" >

        {{ $prop_type }}

   @endforeach

A: To get the clean text you need to decode the URI and replace any remaining codification. Assuming you have a string variable you can do this as below.
See this question for a longer explanation.

var str = 'Apartment+%26+housing';
console.log('value=' + decodeURIComponent( str.replace(/\+/g, '%20') ));


To effect change in corporate performance, research alone is not enough; data need legs. The WikiRate community brings great knowledge and creativity to the tasks of interpreting, analyzing, visualizing, and contextualizing data for different stakeholder audiences, including investors, employees, consumers, advocates, and neighbors. All WikiRate data is free and accessible for download and integration into external applications.
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In addition, there is a new WikiRate Labs site dedicated to sharing data experiments that WikiRate community members create using WikiRate data.


Area: 1501 sq.ft. -1572 sq.ft.
Isha Villa is one of the popular residential developments in New Alipore, neighborhood of Kolkata. It is among the ongoing projects of its Builder. It has lavish yet thoughtfully designed residencies.


Welcome to the wonderful world of middle school! :) My name is Ms. Troxtel and I teach a variety of classes here at KMS. I teach ELA 7/8 and Ancient History in Room 212. I co-teach with Ms. Codispoti for one hour a day integrating a new literacy program called iLit for 8th graders in Room 302. Additionally, I co-teach a 7th grade ELA class with Mrs Meister in Room 307.
I received my Bachelor's degree from Eastern Illinois University in 2006. I double majored in both Special Education and Elementary Education with an emphasis in Behavioral Studies. My first teaching job was at a middle school in Evanston, Illinois. I taught ELA and Social Studies there for three years. I moved to Michigan in 2009 and began working in Hamtramck here at KMS. This is my 8th year of teaching at KMS. Four years ago, I obtained my Master's degree in Curriculum and Instruction from Mary Grove College in Detroit. I will continue my education throughout my professional career in order to serve as a role model for my students and also to stay current with new and innovative practice related to the teaching field.
I am passionate about teaching and there is nothing in the world I would rather do. It is my goal to provide a safe, nurturing environment for all of my students to learn and succeed. I try to incorporate humor into my lessons to promote an engaging space for students to love learning. If you have any questions, please feel free to contact me on my website or via e-mail. My website address is www.mstroxtel.weebly.com and my e-mail address is stroxtel@hamtramck.k12.mi.us.


text:
Home Culture Theatre Review – Single Spies
Theatre Review – Single Spies
Sam Chipman
'Nicholas Farrell in Single Spies. Photo: Alastair Muir
Single Spies
by Alan Bennett
Presented by Chichester Festival Theatre & Birmingham Repertory Theatre.
Directed by Rachel Kavanaugh
Reviewer: Sam Chipman
In his book Writing Home Bennett confesses that espionage interests him "not a bit", but the idea of exile and that people can be so involved in the detail you cannot see the whole picture ring out in Single Spies. Bennett's award-winning comedy consists of two acts, An Englishman Abroad and A Question of Attribution. Following the lives of two members of the notorious Cambridge Five spy ring in the 1950s, Guy Burgess and Anthony Blunt, these witty and compelling plays span the globe from Moscow to London.
Peter McKintosh's design works cleverly for both plays, with the red carpet both evoking Soviet Russia and of the grandeur of Buckingham Palace. Windows showing pictures of Stalin are exchanged for gild-framed paintings during the interval.
In An Englishman Abroad, Guy Burgess, played by Nicholas Farrell, is found alone in Moscow 1958. The rather disheveled character who has been exiled finds he does not fit into Russian society. Farrell is well cast as this castaway and has a real sensitivity in finding the voice of a lonely man who cannot stand the regime he once idolised. Belinda Lang narrates the tale as Coral Browne, actor and friend to Burgess as their relationship begins to fade away.
The second play, A Question of Attribution show us a snapshot of Anthony Blunt, played by Downton Abbey star David Robb, as he is interrogated for his links to communism. Robb gives a suitably dry performance, really grasping just how resigned Blunt is to his fate. A candid interrogation carried out by the queen herself, played by Belinda Lang, under the guise of art forgery is the high point of the evening, as Bennett puts words into the mouth of the monarch that a great deal of us would like to know more about.
It would be interesting to see the effect a smaller, more intimate venue would have on this production, as it explores the intricacies of two men who's vulnerabilities are exposed under threat of exposure and loneliness. Rachel Kavanaugh's direction is sensitive, keeping the production steady and never allowing it to rest on its back foot. Burgess and Blunt do not attempt to justify their betrayal, nor go into detail about their actions, which allows us to peer into their world's with a little more empathy than we would perhaps otherwise.
Bennett's mischievous and witty writing hits the mark in just the wry fashion one would expect – not for those who like fast moving action, but a fascinating, compelling watch with wit galore.
Playing at Birmingham Rep until 27th February, continuing its tour until 30th April 2016.
Alan Bennett
Birmingham Rep
Birmingham Repertory Theatre
Chichester Festival Theatre
Rachel Kavanaugh
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Actor, trained at Birmingham School of Acting - currently flexing vocal chords on the Yorkshire coast. Saxophonist, lover of Musical theatre, jazz, cups of tea and wine. Founder/Editor of The Daily Spectacle.


text:
<?php
class findOutgoingLinksTest extends PHPUnit_Framework_TestCase {

  public function testFindLinkInATag() {
    $html = '
example
';
    $links = IndieWeb\MentionClientTest::findOutgoingLinks($html);
    $this->assertEquals(array('http://example.com/'), $links);
  }

  public function testFindLinkInHEntryContent() {
    $html = '

example

';
    $mf2 = Mf2\parse($html, 'http://source.example.net/');
    $links = IndieWeb\MentionClientTest::findOutgoingLinks($mf2);
    $this->assertEquals(array('http://example.com/'), $links);

    $html = '

http://example.com/

';
    $mf2 = Mf2\parse($html, 'http://source.example.net/');
    $links = IndieWeb\MentionClientTest::findOutgoingLinks($mf2);
    $this->assertEquals(array('http://example.com/'), $links);
  }

  public function testFindLinkInHEntryProperty() {
    $html = '
#example
';
    $mf2 = Mf2\parse($html, 'http://source.example.net/');
    $links = IndieWeb\MentionClientTest::findOutgoingLinks($mf2);
    $this->assertEquals(array('http://example.com/'), $links);
  }

  public function testFindLinkInNestedHEntryProperty() {
    $html = '

#example

';
    $mf2 = Mf2\parse($html, 'http://source.example.net/');
    $links = IndieWeb\MentionClientTest::findOutgoingLinks($mf2);
    $this->assertEquals(array('http://example.com/'), $links);
  }

  public function testFindLinksInProperties() {
    $input = json_decode('{
      "type": [
        "h-entry"
      ],
      "properties": {
        "author": [
          {
            "type": [
              "h-card"
            ],
            "properties": {
              "url": [
                "http://example.com/"
              ],
              "name": [
                "example"
              ]
            },
            "value": "example"
          }
        ],
        "name": [
          "#example"
        ],
        "url": [
          "http://source.example.net/"
        ]
      }
    }');
    $links = IndieWeb\MentionClientTest::findLinksInJSON($input);
    $this->assertEquals(array('http://example.com/','http://source.example.net/'), $links);
  }

  public function testFindNoLinksInHEntry() {
    $html = '

example

';
    $mf2 = Mf2\parse($html, 'http://source.example.net/');
    $links = IndieWeb\MentionClientTest::findOutgoingLinks($mf2);
    $this->assertEquals(array(), $links);
  }

  public function testFindNoLinksInHTML() {
    $html = '

Hello World

';
    $mf2 = Mf2\parse($html, 'http://source.example.net/');
    $links = IndieWeb\MentionClientTest::findOutgoingLinks($mf2);
    $this->assertEquals(array(), $links);
  }

}


Multiple lighting luminaire, consisting of four foci online.
rectangular design made entirely of steel, available in two color finishes.
Its design makes it an excellent solution to illuminate with spotlight, it can be installed on a dining table, living room or desk.
It incorporates socket compatible with halogen bulbs or LED GU10.
The halogen version is compatible with dimmers.


text:
package com.yjl.javabase.thinkinjava.holding;//: holding/StackTest.java
import com.yjl.javabase.thinkinjava.net.mindview.util.*;

public class StackTest {
  public static void main(String[] args) {
    Stack<String> stack = new Stack<String>();
    for(String s : "My dog has fleas".split(" "))
      stack.push(s);
    while(!stack.empty())
      System.out.print(stack.pop() + " ");
  }
} /* Output:
fleas has dog My
*///:~