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College Football Playoff Features Sport's Biggest Spenders, Again: Data Viz
By Lev Akabas
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All four teams playing in the College Football Playoff semifinals rank among the top six FBS schools in football spending at over $50 million apiece annually. AP Photo/Rick Scuteri
In any given season of the College Football Playoff's brief seven-year history, at least two schools among the quartet of Alabama, Clemson, Ohio State and Notre Dame have always been selected. Today's semifinals will be no different.
Even though Notre Dame received a drubbing at the hands of Clemson two weeks ago and Ohio State only played a six-game slate, the selection committee saw no reason to deviate from the teams we're most accustomed to seeing. Alabama is making its sixth appearance in seven years, Clemson its fifth, Ohio State its fourth and Notre Dame its second.
The Sugar Bowl is a rematch of last year's semifinal Fiesta Bowl, in which the Tigers' Trevor Lawrence led a comeback from a 16-0 deficit against the Buckeyes, culminating in a game-winning drive with under two minutes to go. The Rose Bowl is a showdown between two historical juggernauts—either Alabama or Notre Dame has claimed a national title in more than a quarter of the past 100 years.
The on-field success of these four programs is correlated to their massive spending in football. Clemson has the smallest athletics budget of the group, ranking 20th among 130 FBS schools, but all four rank among the top six in football spending at over $50 million apiece annually.
Despite the familiar presence of college football's financial powerhouses, nobody will mistake this for a normal year. The Rose Bowl plans to allow just 16,000 fans to the game, while the Sugar Bowl will be more cautious, limiting capacity to only 3,000. The restrictions have caused ticket prices to skyrocket on the secondary market, particularly for the more exclusive Sugar Bowl.
In the CFP era thus far, we still haven't gotten two quality semifinal games in the same year. Eight of the 12 matchups have been decided by at least 17 points, while only three results have been by single-digit margins.
Don't get your hopes up for this year, either. Alabama is favored by 20 points over Notre Dame, and 70% of the handle on BetMGM is backing the 2015-16 and 2017-18 national champions.
Clemson is also favored by more than a touchdown at -7.5, and the betting public is pounding the Tigers. If last year's Fiesta Bowl was any indicator, though, tonight's Sugar Bowl could be a primetime nailbiter. It would be a nice way to ring in the new year.
data viz


The Rotary Club is joining with Haiti's Smallholder Farmers Alliance to reforest and boost agricultural productivity in rural areas of the Caribbean island nation, where massive deforestation is seen as a root cause of chronic poverty.
SFA and local smallholder farmers in the area around Gonaives in northern Haiti will begin building a new tree nursery this month, funded in part by donations from US Rotary Clubs in Bentonville, Arkansas and Exeter, New Hampshire. That will be the first phase of a project that will see local farmers grow, transplant, and look after trees in return for seed, tools and agricultural training that will help them improve their crop yields, SFA co-founder Hugh Locke explains in a blog post.
SFA has had tremendous success in using its innovative model for sustainable development. Initial success applying it in northern Haiti smallholder farming communities in partnership with Timberland has led to new, broader-based international campaigns and programs.
SFA calls its sustainable agro-forestry and rural development model "tree currency." Applying it in the field, Haitian smallholder farmers have increased crop yields an average 40 percent and their household incomes an average of between 50 and 100 percent, Locke highlights.
The reforestation and smallholder farmer agricultural development partnership with the two US Rotary Club chapters lays the foundation for a global grant that SFA anticipates with include Rotary Club chapters in other US cities, as well as in Gonaives. Timberland, the Rotary Foundation, and Rotary International are other prospective participants, according to Locke.
The main focus of the global grant funding would be to link reforestation work carried out by smallholder farmers with cotton production. By planting and cultivating trees they will earn the cotton seed, tools and training they'll need to grow cotton for export and purchase by Timberland.
Locke announced the SFA-Rotary Club partnership last week while addressing more than 25,000 Rotarians from some 175 countries who had gathered in Toronto for their annual international convention. Just a few days earlier SFA announced a public-private reforestation partnership with the Haitian Ministry of Agriculture.
The unveiling of a new signpost reading, "Let's together protect trees – trees mean life for all of us," erected on the road leading into Gonaives marked the launch of the project. Ministry of Agriculture, Ministry of Environment and Gonaives city officials, SFA members and others also made their way to the nearby farming community of Terre Rouge and joined with local, smallholder farmers to plant 100 trees.
SFA has implemented its model of tree currency in the area since 2010. Trees are planted to create orchards alongside roads to serve as buffers, as living fences on fields, and on slopes to prevent soil erosion and flooding.
Program participants are looking to connect several of the reforestation-agricultural sites near Gonaives to form the first green belt of its kind in Haiti.


When I was pregnant, we wondered if we would have a boy or a girl. I thought for SURE I would have a girl because I was craving sweets and getting wicked acid reflux and I had horrible morning sickness during the first trimester.
When we found out that we were having a boy…our EDDIE…we wondered what you would look like. Would you have my pin-straight hair? Or would you get Daddy's curly locks? We all were convinced you would have daddy's crazy curls.
with straight, brown hair. Like fluffy silk flat again his head. Just right for nuzzling when we cuddled in my hospital bed.
So we thought you would have straight brown hair like my brothers. Your uncles.
Suddenly we had a little bald baby. You lost all your brown hair. You were our little cue ball…and we started to wonder when the blond whips appeared…will there be curls?
Your first birthday came around and we saw those blond whisps start to curl first around your ears. Would the rest follow?
YES! There they were! And they grew and grew and grew! I loved watching your hair flop and you bounded through the house or yard.
But soon it got out of control. Daddy (and some others) would casually point out the hair in your eyes, the rat's nest on the back of your head, and how hard it was getting to comb properly.
And I had to admit it was true. You couldn't see and you cried when I combed your hair. It just wasn't very nice for you anymore.
Against all of what my momma's heart said, I took you to my cousin whom I trust with my locks, and asked her to give my baby his first hair cut at her mom's house.
Eddie, you were as unsure about the whole thing as I was. But you sat so nice while dad and I (and namna and bumpa (grandma and grandpa)…what? Normal people don't have a crowd at their baby's first hair cut? That is just us?) watched the curls fall.
I put some of those curls in a little baggie. To keep forever to remember the floppy-haired toddler that ran through my days.
You just also get haircuts now…and a grape sucker as a treat for being good.
You are still my little boy.
But you are not my baby anymore.
Who knew that a haircut could make a baby into a boy?
I guess this is yet another Momma Lesson Learned.
This week's prompt was to either begin or end with the words "Lesson Learned".
I may have entered Eddie in a celebrity look-alike contest via Mommy Shorts where I compare him to Nick Nolte's mug shot. This may have also been part of the reason the haircut was needed. Allegedly. Ahem. Anyway, go vote (you have to "like" Mommy Shorts and then "like" Eddie's pic in the album) so he doesn't hate me someday.


Kids around the globe love Ana Paula Rímoli's Amigurumi toys, and now she provides a fun-packed choice of cool components with an identical impossible to resist look.
Vital advisor for an individual who spends time on the lake with little ones. this could be the 1st booklet you learn any and each baby arriving at your boat, lake estate, campsite, dock, fishing journey, summer time lake holiday, or lake cabin. Make it a summer time vacation culture, you won't remorse it. This Lake security publication is an ideal advisor to percentage with a tender baby ahead of their first journey to the lake, or each time you might have younger visitors stopover at you on the lake.
Meet your dream plate and fall in love with a speedier, friendlier method of printmaking. For artists and crafters who love the inventive probabilities of monoprinting on gelatin yet no longer the prep time, mess and inconvenience that includes it, the Gelli Arts Gel Printing Plate is a dream come precise! it truly is sturdy, reusable, saved at room temperature, and able to get artistic everytime you are.
From kitchen advancements and furnishings, to presents and small initiatives that may be performed guickly, the specialists at American Woodworker supply plans and directions for construction 50 nice having a look initiatives for each room in the house. With quite a few sort and ability degrees incorporated, there's something for each woodworker during this publication.
A booklet of styles for making Tapestry Peyote beaded goods with Miyuki Delica dimension eleven beads. There are huge photos, a listing of the colour numbers with quantities and a note chart to be used in making goods. The styles are:Lady Cardinal within the Snow 10" x eight" in fifty five matte colorsBelted Kingfisher kinfolk 12" x 15" with forty-one matte colours.


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JANET JEFFERS
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Janet Little Jeffers is a Baltimore, Maryland-based artist specializing in digital photography. After working in the fields of graphic design, interior design, and broadcasting, she committed to a full-time career as a visual artist in 2009. Her work explores intimate and abstract details in the natural and manmade worlds, and she thrives on exploration, whether in her hometown or a remote destination. Some of her recent projects include bodies of work from Cuba and the polar regions of Greenland and Antarctica.
Janet's work has been featured in exhibitions throughout the mid-Atlantic, on book and magazine covers, in film and video, and in permanent site-specific installations for institutions and businesses such as WTMD Radio, University of Maryland Medical System, and Pharmaceutics International, Inc. She currently works from a studio in Baltimore's historic Bromo Seltzer Arts Tower.

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Cite, Site, Sights
Artists' Cities
Traveler Artists to Latin America
Donation to the Fundación Reina Sofía
Generational diversity and a spectrum of artistic practices
The following text, written by the Museo Reina Sofía, is a brief contextual overview of the artists and their artworks that were included in the CPPC's donation of contemporary Latin American artworks to the Fundación Museo Reina Sofía in March 2019. For more information, please visit the donation page here.
Sigfredo Chacón
Sigfredo Chacón. Left: "Autorretrato" (from the series London Drawings) (1975). Acrylic on paper. 42 x 30 cm (16 9/16 x 11 7/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Fernando Zubillaga Reverón. Right: "Dibujo sin título" (from the series London Drawings) (1975). Acrylic and ink on paper (42 x 30 cm (16 9/16 x 11 7/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
A review of the artists by their countries of origin begins with Sigfredo Chacón (Venezuela, 1950), with his works Autorretrato (1975) and Dibujo sin título (1987), which combine painting, graphic design, and drawing and allow us to trace the aesthetic rupture that marks Venezuelan conceptualism.
Héctor Fuenmayor
Héctor Fuenmayor. Left to right, clockwise: 1) Detail of "Cruz y ficción" (1978). Graphite on photocopy. 2 panels, 56 x 100 cm (22 x 39 3/8 in); 1 panel, 100 x 56 cm (39 3/8 x 22 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros. 2) "Muerte y resurrección" (1974–1994). Graphite on paper, ashes, wood and glass. Installation dimensions variable. Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros. 3) "Right and Wrong" (1983–1990). Marble and wood. 32 x 110 x 27 cm (12 5/8 x 43 5/16 x 10 5/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Sofía Hernández Chong Cuy. 4) "Miranda en la Carraca, algunas transformaciones" (1977). Artists' book. 30 x 43.5 cm (11 7/8 x 17 1/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Luis Pérez-Oramas.
A key figure in the Venezuelan vanguard movement, whose work escapes easy typecasting, is Héctor Fuenmayor (Venezuela, 1949), represented in the donation by three works: the triptych Cruz y ficción (1978), the installation Muerte y resurrección (1974–1994), Right and Wrong (1983–1990), and the art book Miranda en la Carraca, algunas transformaciones (1977).
Roberto Obregón, "Pe Eme (from the series Proyecto masada)" (1999). Rubber. 69.5 x 142 x 0.3 cm (27 3/8 x 55 7/8 x 1/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Ariel Jiménez.
Roberto Obregón (Colombia-Venezuela, 1946–2003) explores conceptual approaches with his experience as a botanical illustrator as his base. Using a variety of techniques, including photography, watercolor, photocopy, and collage, his works are a record of nature. In Pe Eme, from his earlier series Proyecto masada, the artist examines the topic of suicide, social violence, and depression.
José Gabriel Fernández
José Gabriel Fernández, "Boceto para una historia natural de edén" (1994). Acrylic sheet, board and silkscreen on wallpaper. 200 x 113 x 138 cm (78 ¾ x 44 ½ x 54 ¼ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Rafael Romero.
In his work Boceto para una historia natural del Edén (1994), José Gabriel Fernández (Venezuela, 1957) uses daily materiality—wallpaper with floral motifs, its foliage intervened with graffiti from men's bathrooms—to underline that the construction of sexual identity is intimately interwoven with spatial politics.
Jaime Castro Oróztegui
Jaime Castro Oróztegui. Top: "Long Island, There Is No Mountain Higher" (1998). Self-adhesive paper on plywood. 45 x 200 x 105 cm (17 11/16 x 78 ¾ x 41 5/16 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros. Bottom: "Paisaje 12.2001" (2001). Acrílico, transformadores y cables eléctricos, luces, guayas, figura para maquetas. 22 x 119 x 62 cm. Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Mario Valles.
The work of Jaime Castro Oróztegui (Venezuela, 1968) grows from his formation as a sculptor and his interest in reflecting on the landscape and its function throughout art history. In his works Long Island, There is no Mountain Higher (1998), and Paisaje 12.2001 (2001), he explores the many ways of representing landscape through manipulated materiality, in which technology and raw material create new interpretations of spaces.
Alí González
Alí González, "Untitled" (2000). Structure assembled in wood with twine. 124 x 59 x 60 (48 7/8 x 23 ¼ x 23 5/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Ileen Kohn.
With his interest in spatial relationships, Alí González (Venezuela, 1962), uses installation to question museum spaces and creates a new order that opens routes of communication. Sin título (2000) is a rocking chair covered in a web of cords, which can be interpreted as the materialization of the restrictions imposed by the social construction of gender.
Oscar Machado
Oscar Machado, "Untitled (from the series Echando raíces)" (1996–1997). Wire made of galvanized iron, nickel-chrome paint and cement. 250 x 250 x 30 cm (98 7/16 x 98 7/16 x 11 7/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Juan Andrés Cisneros.
The donation of works also includes pieces by artists interested in cultural experimentation, such as Oscar Machado (Venezuela, 1953). In a work from his series Echando raíces (1996–1997), iron wire and cement serve as tools to interpellate space, showing the lightness of the iron and the immobility of the cement's weight.
Magdalena Fernández
Magdalena Fernández, "Cubo móvil" (1998). Aluminum. 100 x 100 x 100 cm (39 3/8 x 39 3/8 x 39 3/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Marión Cisneros y Noel Vanososte.
Concerned with material mobility, artist Magdalena Fernández (Venezuela, 1964) is represented in this set of works with one of her "mobile drawings," titled Cubo móvil (1998), in which lines and aluminum structures invite physical interaction with viewers.
Augusto Villalba
Augusto Villalba, "Untitled (from the series Jazz)" (1997). Acrylic on plywood. 40 x 15.2 x 10 cm (15 ¾ x 6 x 3 15/16 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
Augusto Villalba (Venezuela, 1963), offers reflections on materiality and its purpose, both artistic and social, through a pictorial language that seeks to unite found objects and daily visual noise. Color is a significant element in his work, and his piece Sin título from the series Jazz (1997) utilizes color as a sculptural strategy.
Arturo Herrera
Arturo Herrera, "Untitled" (2004). Graphite and ink on paper. 94.6 x 69.2 x 5.1 cm (37 ¼ x 27 ¼ x 2 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Adriana Cisneros de Griffin.
In turn, Arturo Herrera (Venezuela, 1959) utilizes visual fragments to create collages, sculptures and murals that exist between legibility and abstraction. The artist's trajectory is represented by a collage-drawing, Untitled (2004), in which the work plays with presence and absence in an almost sculptural way, exploring occupied space and emptiness.
Javier Téllez
Javier Téllez, "A Season in Hell" (1997). Cactus prints. 6 prints, each: 91.5 x 61 cm (36 x 24 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Manuel Borja-Villel.
Known for his long-running work on mental illness, madness, and otherness, Javier Téllez (Venezuela, 1969), is the author of six color posters titled Cactus prints, from the series A Season in Hell (1997), which portray scenes from the Venezuelan prison Tocuyito. Each poster boasts a slogan promoting the country's tourism industry during the decade of the 1970s. The tension between image and words makes the machinery of exclusion visible.
Rubens Gerchman, "Burnt perfume" (1971). Formica and metal construction. 31.7 x 24.4 x 6.3 cm (12 ½ x 9 5/8 x 2 ½ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
Among the Brazilian artists whose works are included in the donation is Rubens Gerchman (Brazil, 1942), a painter and sculptor deeply influenced by concrete and neo-concrete art and connected to psychedelic and pop art. His works explore diverse themes, from urban isolation and alienation to the geopolitical location of Latin American. The work donated is titled Burnt perfume (1971).
Angelo Venosa, "Auto-retrato" (1999). Plywood. 45.7 x 337o.8 x 279.4 cm (18 x 133 x 110 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
Angelo Venosa (Brazil, 1954) is one of the few sculptors to form part of "Geração 80," a movement that reevaluated the imaginary and the spontaneous gesture of the artist, mainly through painting. The piece included in this set is Autorretrato (1999).
Marcos Coelho Benjamim
Marcos Coelho Benjamim, "Untitled" (1992). Wood and metal. 251 x 80 x 5 cm (98 7/8 x 31 ½ x 1 15/16 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Adriana Cisneros de Griffin.
In his work Sem titulo (1992), Marcos Coelho Benjamim (Brazil, 1952) utilizes repurposed materials with rough, worn surfaces to create tridimensional sculptures and installations, emphasizing the popular culture of Minas Gerais, its tradition of artisan crafts, and its recycling of found materials.
Ester Grinspum
Ester Grinspum. Top: "Untitled" (1997). Gouache and graphite on paper. 38 x 63 cm (14 15/16 x 24 7/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros. Bottom: "Untitled" (1997). Gouache and graphite on paper. 38.6 x 63.5 cm (15 3/16 x 25 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
In both her sculptural works and drawings Ester Grinspum (Brazil, 1955) seeks an interiority that opposes clarity and constructive logic linked to modernity. She employs a premeditated subjective vocabulary, constituted by icons of her own creation as well as those from art history. Two of her untitled works on paper are included in the donation.
Valeska Soares
Valeska Soares. Left: "Untitled (from the series Detour)" (2005). Enameled pottery. Dimensions variable. Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Ainhoa Grandes. Right: "Wishes 22" (1996). Steel and paper. 127 x 77.5 x 5 cm (50 x 30 ½ x 1 15/16 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Frances Reynolds.
Valeska Soares (Brazil, 1957) stands out in the Brazilian vanguard from the end of the 1980s to the beginning of the 90s. Since 1992 her work has been positioned across multiple platforms, centering on topics such as the globalized art world, geography, cultural and national identity, discipline or form. Sem título (from Detour) (2005) and Wishes 22 (1996) are the works by this artist that will now be part of the Museum's collection.
Maurício Ruiz
Maurício Ruiz, "Untitled" (1995). Plaster. 30.5 x 10.8 x 6.4 cm (12 x 4 ¼ x 2 ½ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
Engraver and sculptor Maurício Ruiz (Brazil, 1958) interrogates himself though materials and the color they provide, inquiring into the mechanisms we activate to recognize ourselves, whether through our traditions, our communities or simply as individuals, as can be appreciated in works such as Untitled (1995).
Paulo Pasta, "Untitled" (1994). Oil on canvas. 180 x 220 cm (70 7/8 x 86 5/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a João Carlos Figueiredo Ferraz.
His paintings, drawings and engravings make Paulo Pasta (Brazil, 1959) one of the most recognized artists from 1990s São Paulo scene, working in abstraction from an affective and poetic perspective. His work is Sem título, a canvas from 1994.
Fernanda Gomes
Fernanda Gomes, "Untitled" (1993). Paper and thread. 17.5 x 11 x 1.5 cm (6 7/8 x 4 5/16 x 9/16 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Rosario Peiró.
The artist Fernanda Gomes (Brazil, 1960) utilizes leftover materials, quotidian objects, or cast-off furniture, and her works stand out for being widely linked to the spaces in which they unfold. In the case of Sem título, from 1994, she uses paper and thread.
Nuno Ramos, "Balada" (1995). Artists' book made from paper and metal bullet. 22.9 x 17.8 x 5.7 cm (9 x 7 x 2 ¼ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a João Fernandes.
Painter and sculptor Nuno Ramos (Brazil, 1960) is a multifaceted artist who utilizes different supports and materials, combining engraving, painting, photography, installation, poetry, and video. The art book Balada (1995) is an example of this.
Rosângela Rennó
Rosângela Rennó, "Sem título (XXYX) (from the series In Oblivionem)" (1994). Plaster and anime (gum resin). 74 x 74 cm (29 1/8 x 29 1/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Ana Tomé Díaz.
Rosângela Rennó (Brazil, 1962) uses photographs from public and private archives to question the nature of the image and its symbolic value, as occurs in Sem título (XXYX) –in oblivionem, from 1994. Interested in the discarded image and appropriation, Rennó emulates the habits of the collector by putting different images together.
Edgard de Souza
Edgard de Souza. "Untitled" (1997). Acrylic. 96.5 x 71 x 142 cm (38 x 27 15/16 x 55 7/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Pilar Lladó.
Edgard de Souza (Brazil, 1962) experiments with the creation of tridimensional objects, drawing, engraving, and painting. He produces objects and sculptures, such as Sem título (1997), that look into the human form, approaching a surrealist imaginary that conveys a sensation of familiarity and estrangement.
Paulo Climachauska
Paulo Climachauska, "Untitled" (2004). Ink on paper. 83 x 64 cm (32 5/8 x 25 ¼ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
In Untitled (2004), Paulo Climachauska (Brazil, 1962) combines drawing and painting to inquire into the relationships between art, economics and society, postulating that the line is not something that is traced but rather a mathematical sequence that allows us to reflect on the connections between the value of a work of art and its social function.
Rosana Palazyan
Rosana Palazyan, "Untitled" (1994). Burned and embroidered canvas. 150 x 56.6 cm (59 1/16 x 22 5/16 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Susana Steinbruch.
Rosana Palazyan (Brazil, 1963) experiments with multiple techniques that cross diverse disciplines—from embroidery and drawing to performance and urban installation—to create works that explore how narrative is constructed in the smallest of details. In Sem título (1994) she employs burned and embroidered fabric.
Iran do Espírito Santo
Iran do Espírito Santo. Top: "Tomograma" (1995). Glass and stainless steel. 80 x 0.8 x 110 cm (31 ½ x ¼ x 43 ¼ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Juan Várez. Bottom: "Untitled" (1993). Lithograph. 54 x 68.5 cm (21 1/8 x 26 7/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Paulo Herkenhoff.
The work of Iran do Espírito Santo (Brazil, 1963) shows a subtle subversion of minimalism through daily abstract elements. As seen in Tomograma (1995) and Untitled (1993), Espírito Santo is concerned with the tactile attributes of the materials chosen and their sensual contours of simple abstract forms in space.
Marcia Thompson
Marcia Thompson, "Transparente" (1996). Silicone on plastic attached to wooden frame. 40 x 40.2 x 3 cm (15 ¾ x 15 7/8 x 1 3/16 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
Exploring the dichotomy between that which is made in series and that which is one of a kind—between the continuous and the discontinuous—the sculptural paintings of Marcia Thompson (Brazil, 1968) such as Transparente (1996) request a gaze that is not uniform, that is capable of perceiving singularities within an apparently homogenous whole.
José Damasceno
José Damasceno. Top: "2 estudos sobre 1 dimensão perdida" (1996). Iron and elastic rope. Dimensions of installation, approximately: 230 x 482 x 1080 cm (90 x 189 x 425 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Miguel Ángel Cortés. Bottom: "A carta (nó)" (2005). Adhesive stickers on PVC. 183 x 260 cm (72 x 102 3/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a María Amalia León.
José Damasceno (Brazil, 1968) has known how to create his own language without renouncing the influence of his predecessors, such as Lygia Clark, Helio Oiticica and Cildo Meireles. He combines sensorial, interactive poetics with a personal universe, marked by his references to surrealism and his frequent use of humor. His works 2 estudos sobre 1 dimensão perdida (1996) and A carta (nó) (2005) are part of the donation.
Eduardo Costa, Left: "Cuña Blanca" (1998–1999). Solid acrylic paint. 52 x 33 x 7 cm (20 ½ x 13 x 2 ¾ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Ana Luiza Teixeira. Right: "Black Cube" (1998–1999). Molded in solid acrylic paint. 30.3 x 30.3 x 30.3 cm (11 15/16 x 11 15/16 x 11 15/16 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Luiz Augusto Teixeira de Freitas.
The works of Argentine Eduardo Costa (1940) included in this set—Cuña blanca (1998-1999) and Black Cube (1998-1999)—correspond to the artist's proposals regarding painting, creating his "volumetric paintings," as they are known: sculptural forms constructed exclusively with paint.
Miguel Ángel Ríos
Miguel Ángel Ríos, "Untitled" (1994). Graphite, charcoal and ink on cardboard. 98.4 x 210.5 cm (38 ¾ x 82 7/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
Miguel Ángel Ríos (Argentina, 1943) combines a rigorously conceptual approach with a meticulously constructed handmade aesthetic. In his untitled work from 1994, this artist transforms cardboard into a space full of lines, converting the everyday in a complex territory of movement.
Fabian Marcaccio
Fabian Marcaccio, "Dead, No No Model #2" (1992). Oil and silicone on canvas. 50.8 x 50.8 x 3.2 cm (20 x 20 x 1 ¼ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en memoria de Thomas Ammann.
His compatriot Fabian Marcaccio (Argentina, 1963) utilizes digital and industrial techniques. In the work Dead, No No model #2 (1992), he fossilizes painting, mixing oil with silicone.
Danilo Dueñas
Danilo Dueñas. Top: "El sembrador" (1991). Acrylic on wood and pencil. 40 x 30 cm (15 ¾ x 11 7/8 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros. Bottom: Installation view of "Velocidades "(2005). Installation with different adhesive tape. Installation dimensions variable. Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Alexa Halaby.
Colombian artist Danilo Dueñas (1956) experiments with materials and found objects (readymades) to create pictorial constructions with multiple interpretations that, when harmoniously paired with the context in which they are exhibited, manage to question, evoke, and unbalance the viewer. This is the case with El sembrador (1991) and Velocidades (2005).
José Dávila
José Dávila, "S, M, L, XL" (2000). Book intervention. 19.4. 24.1 x 6.4 cm (7 5/8 x 9 ½ x 2 ½ in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros.
The work of Mexican artist José Dávila (1974) originates in the symbolic languages that work within the history of Western visual art and culture. In works such as his intervened book S,M,L,XL (2000) these languages are reconfigured as contradictory relationships, taking the correspondence between form and content to its limits.
Teresita Fernández
Teresita Fernández, "Untitled" (1997). Wood, canvas, plexiglass mirror, paint and graphite. 304.8 x 304.8 x 22.9 cm (120 x 120 x 9 in). Fundación Museo Reina Sofía. Donación de Patricia Phelps de Cisneros en honor a Ricardo Martí Fluxá.
Lastly, we will cite the work Untitled (1997), composed of nontraditional materials that create optical illusions of movement, by Teresita Fernández (United States, 1968). The artists is known for her large scale sculptures and public installations made of diverse materials, such as thread, aluminum, acrylic, and plastic or glass beads.
Art and Ideas from
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I'm not sure I've ever been more excited about a book than Conor Grennan's Little Princes, which comes out next week. I want to support it in every possible way I can and I hope you'll help me.
Conor went to Nepal to volunteer at an orphanage. When he learned that many of the kids were trafficked, he decided to do something about it. He setup Next Generation Nepal that sought to reconnect trafficked children with their parents.
I've been following Conor's blog, Conor's Mildly Thrilling Tales, for years. We were both part of the BootsnAll blogging network when I stumbled upon him. Conor's writing is hilarious and powerful, self-deprecating and witty. My only complaint is that he doesn't update his blog enough. I'm not sure he'll remember this, but a while back I sent him a note saying, "Dude you should write a book." Well, he did.
And now I want everyone I know to do everything they can to support Conor, Little Princes, and Next Generation Nepal.
4)	Blog about Next Generation Nepal.
In order for your action to count, you have to report it in the comments of this post on my blog or on facebook. Until 100 people commit to at least one of the above, I'll be blogging each day about nothing other than Little Princes, Conor, Nepal, and child trafficking.
This is an important book and cause. And I 100% guarantee that you'll love Conor's writing. Here's a sneak peek and here's Conor talking about Little Princes.
Thanks for pointing to this book. Looks great. I just ordered a copy.
Kelsey – you're awesome! On behalf of the kids, a huge, huge thank you!
I put the link on your Facebook but here it is again, just in case.
Of course, I'll get the book too; sounds like it's right up my alley!
Liked on facebook. Can't wait to read my hubby's copy.
your passion is infectious Kelsey and we are glad it is directed at NGN — thank you!
Hey! I was on BnA, follows his blog and said in a comment that he should write a book.
In any case, I did all of the above so that's one more on your list.
We've blogged it – and loved it!
I 'Like' Next Generation Nepal and Conor's page on FB. And … I just purchased a Nook, and I've been waiting to find the perfect first book to purchase; thank you for turning me on to this title; and I look forward to reading it.
Bought the book – looking forward to reading. Thanks Kelsey!
I love Conor's story, and (like you) have been following his adventures since he first started his RTW trip. The stories in the NGN newsletters used to make me weep – both for sadness and joy – and I can't wait to read the book. It's been pre-ordered to my Kindle.
This book speaks to my heart.. as someone that has spent time volunteering and serving in South Africa and is now on her way to Tanzania.. It is the biggest and most rewarding joy in my life to serve others half way around the world. I love hearing stories like this and how people are stepping beyond their comforts to bring hope and joy to those who need in the most. As Conor stated it starts with one person and making the decision to give back.. Thank you for sharing..
Its an amazing story. Bought the book, FB'd, Telling everyone about it.
A truly inspiring story that will make a great impact on SO many people! The world (especially the developing world) is full of stories so sad as to seem undefeatable – sometimes we forget that feeling powerless is a self-fulfilling state of mind. Conor reminds us that our contributions, big and small, DO make a difference.
Already Like both on FB – LP will be the first book I download to my Kindle – Donated to NGN via Causes (a few days ago – I hope it still counts to "free the hostage" 😉 which posted on my FB page.
Read it, reviewed it (in this upcoming Sunday's Daytona Beach News-Journal), liked it on Facebook and shared it with others, liked NGN on Facebook as well. Not sure how much more I can do to help free your blog!! And, by the way, it's one of the best books I've read in a VERY long time.


Boon Tong Kee already has three branches. One in Mall of Asia, Powerplant Mall, and the one we went to was in Tomas Morato, QC. The place was really nice. Not overly fancy, but also not too casual.
It's designed just right. The type of place you would want to take your family for a nice weekend meal.
Boon Tong Kee serves nicely plated Singaporean dishes that will tickle your eyes and palette! Starting with Crispy Bean Curd appetizer (P165). The deep fried bean curd is really soft even to just look at. Then dip it with the green tea mayo it comes with and a surprise burst of flavors will fill your mouth.
The Prawn Toast (P275) was also a delightful appetizer. Deep fried toast with a shrimp on top. Something Richie would devour in seconds.I imagine this would go really well with a sweet chili sauce.
The Stir-Fried Lotus Plant with Vegetables which is visually sort of unusual but is really really good! It's the lots plant that looks new to me mixed in a salad but it gives a nice crunch along with the peanuts. It's quite addicting!
The Poached Chinese Spanish with Assorted Eggs (P295) is a bowl of century egg and egg medley swimming in creamy soup with spinach. I honestly quite enjoyed this soup! Would love to take Rain back and have her taste this. I'm sure she will love it!
I unfortunately didn't get to try this Fried Sambal Kangkong with Squid (P295). But if you love spicy soup and if you like squid, this one's for you!
It was my first time to ever try a fried rice like this Sambal Fried Rice (P225). If you like having lots of textures in your mouth like I do, then this is definitely a must-try. It's topped with some nuts, prawn crackers, and veggies, and then just the right amount of heat.
Have some of Boon Tong Kee's Birthday Noodles (P295) on your special day! It looks like soup in this photo but there are noodles there.
The noodles are submerged into a lot of creamy sauce that packs a lot of flavor mixed with shrimps and vegetables. Mix them all evenly and it will look more of a pancit.
The Coffee Pork Ribs (P295) is one of the group's favorite that night. The coffee adds a certain taste and aroma to the pork and surprisingly it blended well.
Richie loved the Fried Spare Ribs with Zhen Jiang Sauce (P395). He's a fan of sweet viands and sinful breads. And if you notice, this fried spare ribs is actually served with some deep fried mantao bread. It's like it was made specifically for Richie hehehe.
So naturally, Richie also enjoyed the Braised Pork Belly (P325) served with buns. Pork bathing in thick sweet sauce is just his thing. The pork was really soft and tender. Perfect to stuff inside a bun.
I, on the other hand, love shrimps! And so when we heard that Boon Tong Kee served a special called Crispy Cereal Prawns, I was ecstatic! Huge prawns breaded with cereal floss breading. It's a crunchy perfect bite every time! (Regular P375 / Large P655).
And then they took out another shrimp dish that had my tummy rumbling yet again. The Cream Cheese Prawns for me sounded too good to be true. Shrimps smothered in cheese! I'm a cheese lover too obviously. It's also served with fried mantao bread but of course I prefer rice hehehe. No judging please!
Comes with the usual sauces.
Pair it with this pyramid Chicken Rice (P65) and it's a party in your mouth! I'm a rice lover and so this chicken and chicken rice alone is already enough for me.
Another one of their specials is the Crispy Roast Chicken (Quarter P235 / Half P425 / Whole P755). While this one is fried, it is equally soft and tender as the Boiled Chicken. Plus the sweet soy glazed skin adds flavor that makes my eyes roll.
For dessert, we had the Sago Gula-Melaka with Vanilla Ice Cream (P145) which I loved. (I love sago and i love ice cream hehe). It's not too sweet which makes it even better.
And we also had the Mango Taho which was also light on the tummy. A great palette cleanser!
Now you understand why we kept asking for a change of plate that evening. We just had to have a taste of everything! Lots of flavors, classic and new. A meal at Boon Tong Kee is really a unique Singaporean cuisine experience!
Thank you owners Joy and Michelle Rodriguez for bringing Boon Tong Kee to the Philippines!
We plan to go back as well! Enjoy!


text:
Осада Грунло:
 Осада Грунло (1595)
 Осада Грунло (1597)
 Осада Грунло (1606)
 Осада Грунло (1627)

redpajama_set_name: RedPajamaWikipedia


For Thanksgiving my family was all over the place, but I did manage to make it over for brunch with my parents and decided to try and make some cranberry scones to bring with me. They turned out amazing. I'm officially addicted. I could easily sit and eat a whole batch of them and not even feel bad about it. They're also pretty easy and quick to whip up so they're perfect for gifting too.I just knew I absolutely needed to share the recipe!
Preheat your oven to 450F. In your mixers bowl whisk together combine flour, sugar, baking powder, salt, and spices. Add butter and set mixer on low with beater attachment, mix until butter resembles coarse crumbs. Slowly add in half and half with mixer on low. Toss in cranberries and mix on low for just a second or two. If the dough is really sticky I sometimes add in a tiny bit more flour and mix again for just a few seconds. Turn dough onto lightly floured surface and knead until dough comes together and isn't really sticky anymore. Pat into 1 inch round and cut into 8 peices. Place on parchment covered baking sheet, brush with a little milk or cream and sprinkle with sugar and bake for 12-15 minutes.


text:
The 1999 Tour du Haut Var was the 31st edition of the Tour du Haut Var cycle race and was held on 20 February 1999. The race started and finished in Draguignan. The race was won by Davide Rebellin.

General classification

References

1999
1999 in road cycling
1999 in French sport
February 1999 sports events in Europe


Donut you love me many more?
Let Your Tastebuds Fall in Love Again with this Creamy, Sundried Tomato and Basil Chicken!
These are not the "Best Lemon Poppy Seed Muffins"… it's a Salad.
iGrill2 by Weber – Using Technology to Cook the Perfect Steak!
10 Simple Tricks for the Best Pizza Crust Ever!
Isn't it amazing how the smell of homemade bread wafting through the air can transcend us back in time? A time when things were simple. Flour + yeast + water = bread.
Today, there are so many different grains available to us that so many people are making bread with barley, millet, Quinoa, you name it! I get it, it's healthy. But sometimes I just crave a traditional, warm, crusty Italian bread. There is nothing like it. Chewy, soft and delicious.
When baking bread, I like to use bread flour instead of all-purpose flour. The higher protein content of the bread flour, ie. gluten, gives the bread a lighter, chewier texture. Have you ever made bread that comes out too crumbly or dense? Using bread flour will prevent that problem; provided you allow the dough enough time to develop the gluten. So that means mixing or kneading the dough a bit longer. It also helps if you let the dough rest for a period of time before shaping it into a loaf.
Baking bread does take practice, but with patience, you too can make delicious homemade Italian bread. Try this delicious recipe, you won't be disappointed.
Combine 3 cups flour with dry yeast, salt and sugar in stand mixing bow. Using dough hook on low speed.
With mixer on low speed, add warm water and butter. Mix for 2 minutes.
Add remaining flour one 1/2 cup at a time, mixing until all the flour is fully incorporated with each addition.
Stop mixer on occasion and scrap down the sides of the mixing bowl.
Continue mixing on lowest speed for 4 to 5 minutes.
Turn mixer to next highest speed and allow to mix for additional 4 to 5 minutes. The dough will start to have a nice elastic texture to it and will start to pull away from the mixing bowl.
*Do not overmix beyond that point as the dough can lose its elasticity.
Cover dough with damp towel and let rest for 20 minutes.
On a floured surface, take one half of the dough and punch down to "de-gas" and fold dough over onto itself a few times.
Then, roll out into a 10" x 14" rectangle.
Starting on the longer side of the rectangle roll the dough from end to end.
Place on a cookie sheet seam side down and tuck both ends under.
Repeat the rolling process for the other 1/2 of dough. Place dough roll on the baking sheet allowing room for the rising process.
Brush a light coating of olive oil on top of each dough roll and cover lightly with plastic wrap.
Put the dough in fridge overnight, or on counter until fully risen.
You can check by pressing into the dough with your finger if it leaves a dent, it is ready. If the dough bounces back, it requires more time to rise.
Preheat oven to 425 degrees F or 400F if using convection setting.
Mix egg white with water, and brush on top of each loaf.
Let cool completely before slicing.
Definitely trying this one next weekend! I'll let you know how it goes!!
Get Your Healthy On with These Spicy Airfryer Fish Tacos!
Celebrate St. Patrick's Day with a Spirited Chocolate Irish Cream Cake!
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text:
Q: Mac OSX objective-c NSString memory leaking with ARC Today I've tested around a with NSStrings. Sadly I have a serious memory leak when I run this code (xcode instruments are showing me that):
- (IBAction)start:(id)sender {
    while (true)  // Yes I know that this is an infinity loop
    {
        NSString *test = [[NSString alloc] init];
        test = [NSString stringWithFormat:@"llalalallalalallalalalalallalalllallalalallalal"];
        test = nil;
        // Why does this leak memory ? I think ARC is releasing it automatically ?
    }
}

Here's a screenshot of the instruments:

Could me please help me to understand why is this code leaking (ARC is on)?

A: The memory is just in the autorelease pool, the memory is reclaimed when the pool is drained. Usually this is when the run loop cycles but in a tight loop like this the run loop never get a chance so the pool needs to be explicitly drained.
In a situation like this just inside toe loop add an autorelease pool:
@autoreleasepool {
    code
}

In this case:
while (true)  // Yes I know that this is an infinity loop
{
    @autoreleasepool {
        NSString *test = [[NSString alloc]init];
        test = [NSString stringWithFormat:@"llalalallalalallalalalalallalalllallalalallalal"];
        test = nil;
    }
}

BTW stringWithFormat with no format codes does nothing more than just create the string the same as if it were defined literally:
test = @"llalalallalalallalalalalallalalllallalalallalal";

redpajama_set_name: RedPajamaStackExchange


text:
Tag: twitter unique visitors
Did Michael Jackson's Death Fuel June's Twitter Growth?
Compete.com Reports Twitter.com Unique Visitor Growth in June 2009
Remember Twitter? It was growing by leaps and bounds earlier this year. In May, that growth flattened out. But now, according to Compete.com, Twitter is back in style for unique visitors. (Source)
Personally, I believe some of this growth can be attributed to Michael Jackson's death. MJ's death was the most viral social phenomenon we have ever seen. It was setting records for search on Yahoo, and Twitter also reported some amazing stats during the days after the King of Pop's death. Would it make sense that more people flocked to Twitter for MJ news and messages? Did more people join Twitter just so they could be part of the circus that followed the death of arguably the most famous entertainer in the world? I think so, but I could be wrong. And I'm not saying that MJ's death contributed to all of this growth, but I do think it's a big factor in the growth. Just sayin' is all…


Sally Shearer, director of nursing and quality at the trust, predicted advanced nurse practitioner roles would become increasingly important to ensure the smooth running of emergency departments in the future and so it was vital to start preparing that workforce now.
"Today roles between nurses and doctors are becoming increasingly blurred as nurses advance their skills, so it is thinking about the advanced nursing skills we need for the future and where we place certain individuals with those skills," she told Nursing Times.
"There aren't a whole cupboard full of these people, so when you are thinking about the nursing workforce you have to think several years in advance as it takes time to train people up," she said.
Her comments follow a modelling exercise to look at patterns in A&E attendance and patient flow in Sheffield Children's Hospital's A&E.
The exercise, commissioned by Sheffield Clinical Commissioning Group, saw a team from Sheffield Hallam University use advanced data analysis and computer simulation techniques.
Ms Shearer said the findings did not contain any "huge surprises", but had confirmed patterns already identified by staff and in-house analysis.
"The work has given us an understanding of how many children and young people come through the door, where they are coming from, what conditions they are presenting with, their age group and has given us that level of detail per hour, per day," she said.
"We have very good four hour ED performance at Sheffield Children's, but you can never take the foot off the pedal, so we're always looking for projects that can help us. There were no huge surprises but what it does do is give us that evidence base," she added.
The trust has already used similar analysis to devise staggered shift patterns in the emergency department to match peaks and troughs in demand, Ms Shearer noted.
Its in-house team has also used simulation techniques ahead of the launch of a new outpatients department to ensure optimum patient flow and minimise waiting times.
While the latest analysis will not lead to any immediate changes in the configuration of A&E at the trust, Ms Shearer said she was keen to explore new ways to deploy nurses to best effect in what was "a very exciting time for nursing".
"Nursing and the nursing family is changing – we have nurse apprenticeships, the nursing associate role, the traditional roles we already have, and, at the higher end, advanced nurse practitioners and non-medical prescribing," she said.
"Like many chief nurses, I'm looking at the model we have got in place now give all of those options," she told Nursing Times.
She suggested that one option was to deploy more advanced nurse practitioners in emergency care.
"We already have emergency nurse practitioners in the department, but what we need to look at is advanced nurse practitioners and other models of working," she said. "But there aren't that many people with those skills so we need to train them up.
"This is partly to give us sustainability around our workforce, but it is also better for patients if they can get what they need straight away without having to wait for a doctor to come down," she said.
The trust has worked with the University of Sheffield to develop an advanced nurse practitioner course – launched 18 months ago – and a number of staff are already part-way through the training.
As well as A&E, it deploys advanced nurse practitioners in other areas – such as critical care, transport services for neonates and intensive care – that it operates across Yorkshire and in its nurse-led "hospital at night" team.
"Nationally we need to think about the range of services provided in the emergency department," added Ms Shearer.
"If you're coming in the helicopter with major trauma you're going to need access to specialist individuals," she said. "Yet in order to free up specialist individuals to do that type of care we need to have a full range of skills working in ED, so when a child comes through the door they can be directed to the person best suited to help them.
"For some it will be a specialist, but for others it will be someone with advanced clinical skills with that breadth of skills as well," she noted.
The Sheffield trust is set to launch a new nursing strategy in the New Year. As well as developing nursing roles, it will place a greater emphasis on nurse-led research.
I am an anp in a community hospital working for the local community trust. Myself along with a colleague had the opportunity to undertake a year long secondment which has developed into a full time role. We have developed the role of the anp by being mentored by fantastic doctors. This is an amazing role and opportunities for nurses who want to develop but stay clinical.
Clearly advanced practice is the way forward, both for the nursing profession development and for the safety of our patients.
The RCN and RCEM have lead the way with the development of the competency document that maps the skills roughly to a CT3 level. This is one of the key aspects of developing successful practitioners, they have to be credible, and come to the same standard that patients would expect from similar level doctors, like they already expect with ENP's.
However we need to get serious about the regulation of such posts, if we don't it will be forced upon the profession.
What makes an ANP? what makes an ENP? with ENP's it is not universally agreed.


Have you checked out this paranormal read? It's fun and a little demonic.
"Hey you." As Deziree gazed at Vegas, her smile didn't attenuate. Besides the fact that he was her best friend, she loved to look at him. He was by far the most beautiful creature she'd laid eyes on in her extraordinarily long life. He was stereotypically hot guy. Tall, dark and every bit of him was dangerous. He was six-two or three, the top of his smooth, bald head towering above her. She couldn't imagine the number of razors he'd gone through over the centuries to keep that look. He had the perfectly chiseled appearance of a deadly hunter. Most people would have to spend hours in the gym every day for a body like that, but his undead status meant he didn't even have to try. He would look like that forever. His eyes were the only tell-tale sign that he was a vampire. Those irises – each a pure gleaming gold with a darkbrown ring bordering the edge - were the only giveaway to the general public of what he was. She, on the other hand, could feel it. She could feel the electricity crackle in the air whenever her was around. In more than four hundred years, she had never met someone as exciting as Vegas, and she wanted him from the moment they first met. Why did we fight it?
"I can hear your heart racing." Stepping forward, he leaned down and kissed her again. When he broke away again, she found herself wishing that she didn't have to go back to work. He leaned his forehead on hers and whispered, "My place when you get out?"
I like Wrath from Dark Lover by Ward.


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The UFC women's flyweight title picture has been in flux seemingly since it was the division was introduced in 2017.
The 125-pound division was expected to crown it's inaugural champion at The Ultimate Fighter 26 Finale when Sijara Eubanks and Nicco Montano squared off in the tournament finals. However, Eubanks was eventually pulled from the title fight after struggles with her weight cut. Montaño later went on to win the championship with a decision over Eubanks' replacement, Roxanne Modafferi.
Then, after months of inactivity due to health concerns, Montano was finally slated to defend her belt against Valentina Shevchenko at UFC 228 in September. But on the week of the fight, the champion was removed from the bout and stripped of her title after complications with her own weight cut. Shevchenko was then immediately booked to face former strawweight champion Joanna Jedrzejczyk for the now vacant title in the main event of UFC 231 in December.
But with UFC 230 still in need of a main event, UFC officials decided to pull Shevchenko from UFC 231 and rebook her opposite Eubanks on the November card inside Madison Square Garden.
Appearing on The MMA Hour, Eubanks walked through the process of securing what was supposed to be her first UFC title shot.
But a little more than one week later, as has become custom with the UFC's newest division, promotion officials scrapped Eubanks' title shot and rebooked Shevchenko and Jedrzejczyk for UFC 231.
Even worse, a heartbroken Eubanks revealed the UFC never called her about the change. Instead, she found out from a family member flying in for her fight.
"I remember I signed a bout [agreement] on a Monday and we had just under five weeks left [until UFC 230]," said Eubanks. "Then I found out on a Tuesday – I remember my cousin was flying up from Florida because he comes to all of my fights. He was like 'bro your fight is cancelled' and I'm like 'I would know if my own f*cking fight was cancelled' and he was like 'no I think your f*cking fight is cancelled.' Then I go onto Twitter and my f*cking fight is cancelled.
With her dreams of of UFC gold hampered, a rightfully livid Eubanks immediately tracked down UFC president Dana White.
"I hit up Ali and Ali didn't answer at first," said Eubanks. "So my heart dropped. I figured Ali kind of found out the same way I did. So when he didn't pick up I knew it was bad news. Then I started blowing him up and he picked up said 'I'm sorry.' I was like 'Let me speak to Dana White. I want to speak with Dana. Ali put Dana White on the phone.' So I ended up speaking with Dana. Well, more like yelling at Dana. I have a pattern of yelling at Dana I guess.
As for how her boss handled her tirade over the phone, Eubanks laughed and revealed White actually loved the emotion on display.
So with a title shot no longer on the table, Eubanks agreed to remain on UFC 230 and face Modafferi on the preliminary card in what is expected to be a title eliminator match.
But as been proven, even with a signed bout agreement, nothing is guaranteed in the UFC. This is perhaps none more prevalent than in the women's flyweight division. But for Eubanks, as long as she does her job at UFC 230, the UFC will have no excuses for not granting her a title opportunity.


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Antiga cologne has fresh notes of lemon and bergamot, enhanced by the aromatic touch of thyme flowers and rosemary.
Lavanda eau de cologne with the soft mediterranean perfume of lavender is perfect for daily use.


text:
Q: Saving time as minutes into database I am using an API that analyzes a video and writes data into the database at every 5 minutes. The problem is, in the database the timing appears as seconds (300000, 600000, 900000...) instead of minutes. Is there a way for me to convert the timing into minutes before inserting it into the database?
getFrameTimeStamp = the particular minute that the video is at
//the code below means it will only write in every 5 minutes (300000)
if (has.getFrameTimeStamp() % 300000 == 0) {
    using (SqlConnection conn = new SqlConnection(@"Data Source=(LocalDB)\MSSQLLocalDB;AttachDbFilename=C:\Users\sit\Desktop\(NEW) LEA WINFORMS\28June_LessonEffectivenessAnalysis\LessonEffectivenessAnalysis\LessonEffectivenessAnalysis\LessonEffectivenessAnalysis\LessonAnalysis.mdf;Integrated Security=True")) {
       conn.Open();

       using (SqlCommand cmd1 = new SqlCommand("INSERT INTO TBL_VIDEO(TIMESTAMP,JOY_SCORE,SURPRISE_SCORE,ANGER_SCORE,FEAR_SCORE,SADNESS_SCORE,DISGUST_SCORE) VALUES('" + has.getFrameTimeStamp().ToString() + "','" + people.get(i).impression.emotion_response.joy_score.ToString() + "','" + people.get(i).impression.emotion_response.surprise_score.ToString() + "','" + people.get(i).impression.emotion_response.anger_score.ToString() + "','" + people.get(i).impression.emotion_response.fear_score.ToString() + "','" + people.get(i).impression.emotion_response.sadness_score.ToString() + "','" + people.get(i).impression.emotion_response.disgust_score.ToString() + "')", conn)) {

          using (SqlDataReader dr = cmd1.ExecuteReader()) {
          }
       }
   }
}

A: To answer your question, divide the value by 60000 (60 seconds as milliseconds) to get the desired result.
However, it would be better to store the value as numeric milliseconds and perform the conversion as need when displaying to the user.
// Constants
const int INTERVAL_1_MINUTES_AS_MICROSECONDS = 1 * 60 * 1000; // Or 60000
const int INTERVAL_5_MINUTES_AS_MICROSECONDS = 5 * 60 * 1000; // Or 300000

if (has.getFrameTimeStamp() % INTERVAL_5_MINUTES_AS_MICROSECONDS == 0)
{
    using (SqlConnection conn = new SqlConnection(connectionString))
    {
        conn.Open();

        using (SqlCommand cmd1 = new SqlCommand())
        {
            cmd1.CommandText = @"INSERT INTO TBL_VIDEO(TIMESTAMP,JOY_SCORE,SURPRISE_SCORE,ANGER_SCORE,FEAR_SCORE,SADNESS_SCORE,DISGUST_SCORE)";
            cmd1.CommandText += " VALUES (@FrameTimeStamp, @emotion_response_joy, @emotion_response_surprise, @emotion_response_anger, @emotion_response_fear, @emotion_response_sadness, @emotion_response_disgust);";

            cmd1.CommandType = CommandType.Text;
            // Potentially adding a numeric value as string
            //cmd1.Parameters.Add(new SqlParameter("@FrameTimeStamp", (Math.Floor(has.getFrameTimeStamp() / INTERVAL_1_MINUTE_AS_MICROSECONDS)).ToString())); // Need to type check
            cmd1.Parameters.Add(new SqlParameter("@FrameTimeStamp", (has.getFrameTimeStamp()).ToString()));
            cmd1.Parameters.Add(new SqlParameter("@emotion_response_joy", people.get(i).impression.emotion_response.joy_score.ToString()));
            cmd1.Parameters.Add(new SqlParameter("@emotion_response_surprise", people.get(i).impression.emotion_response.surprise_score.ToString()));
            cmd1.Parameters.Add(new SqlParameter("@emotion_response_anger", people.get(i).impression.emotion_response.anger_score.ToString()));
            cmd1.Parameters.Add(new SqlParameter("@emotion_response_fear", people.get(i).impression.emotion_response.fear_score.ToString()));
            cmd1.Parameters.Add(new SqlParameter("@emotion_response_sadness", people.get(i).impression.emotion_response.sadness_score.ToString()));
            cmd1.Parameters.Add(new SqlParameter("@emotion_response_disgust", people.get(i).impression.emotion_response.disgust_score.ToString()));

            int rowsAffected = cmd1.ExecuteNonQuery();
        }
    }
}

Couple of points with the code sample.  You are converting the timestamp to string to store the value. As a result it becomes difficult to perform arithmetical operations on the value as you will have to convert to a numeric form every time.  Store the value as numeric (Long or another suitable type would be best).
In addition, you might want to use parameters to supply the values rather than using string concatenation.
Finally, there is no need to use a SqlDataReader when performing an insert operation as no records will be returned.  Using ExecuteNonQuery is a better option.
TlDr;
Divide by 60000. If you have a definite requirement to store the value as minutes, or store as milliseconds and perform the conversion in the display code. Use SQL parameters to supply data.


text:
Q: "No such file or directory" when starting convolutional.py script on tensorflow docker image I don't have a Linux or Mac machine so in order to check out TensorFlow on Windows, installed docker and downloaded the image of tensorflow-full.
When I run the following command:
$ python tensorflow/models/image/mnist/convolutional.py

I get this error message:
C:\Users\Javiar\Anaconda\python.exe: can't open file 'tensorflow/models/image/mnist/convolutional.py': [Errno 2] No such file or directory

Currently on Win 8.1 and have anaconda installed.

A: It looks like the error message is caused by trying to execute a script file (.../convolutional.py) that is inside the container, using the Python interpreter outside the container.
First of all, follow the steps here to ensure that Docker is configured successfully on your Windows machine:
http://docs.docker.com/engine/installation/windows/#using-docker-from-windows-command-prompt-cmd-exe
Once you've successfully run the hello-world container, run the following command to start the TensorFlow container:
docker run -it b.gcr.io/tensorflow/tensorflow

(Note that, depending on your terminal, the previous step may or may not work. A common error is cannot enable tty mode on non tty input. In that case, run the following command to connect to the VM that is hosting the containers:
docker-machine ssh default

...then at the resulting prompt, the docker run command again.)
At the resulting prompt, you should be able to run the script with the following command:
python /usr/local/lib/python2.7/dist-packages/tensorflow/models/image/mnist/convolutional.py


text:
Robert Warren Brimmer (May 8, 1935 – August 6, 2018), known professionally as Robert Dix, was an American film actor. He appeared in 50 films between 1954 and 1974.

Biographic data

Dix was born in Los Angeles, California, the son of actor Richard Dix. As a teenager, he left home after his mother remarried.

Dix initially was billed as Bob Brimmer, using his legal name. For a year, he worked with the National Academy of Theater Arts in New York City. Following that experience, he gained a two-year contract with Metro-Goldwyn-Mayer. He later appeared in Forbidden Planet (1956), Forty Guns (1957), and other films including a lead role in Maury Dexter's Air Patrol. In the 1960's he appeared in a string of b-movies by Al Adamson including Hell's Bloody Devils, Satan's Sadists, Blood of Dracula's Castle, and Five Bloody Graves. His last role was a doomed agent in Roger Moore's first James Bond Feature, Live And Let Die, being killed before the opening credits during a marching New Orleans funeral that turns out to be his own.

On May 31, 1956, Dix married actress Janet Lake in Las Vegas. They divorced in 1959. Later he was married to Anna May Slaughter, a nightclub singer, and Darlene Lucht. Dix owned a home near Demuth Park in Palm Springs, California. He died of respiratory failure at a hospital in Tucson, Arizona, at age 83. He was buried at the Russellville–Dragoon Cemetery in Cochise County, Arizona.

Television appearances

In 1961, Dix played the part of Jamie, a lieutenant in the US Cavalry on the television program Gunsmoke and later that same year as "Spotted Wolf", a love torn Indian hunted by the Cavalry in the S7E10 "Indian Ford".

Filmography

References

External links

1935 births
2018 deaths
20th-century American male actors
Deaths from respiratory failure
Actors from Palm Springs, California


Fantastic Townhouse in superb location ,arguably the nicest townhomes in Abbotsford , High end from top to bottom ,with quality hardwood and ceramic flooring, quality features inc. Hi-end appliance, granite etc makes this a stunning home and certainly one to be added to your "must view" list. Main floor has living room with feature fireplace, nice dining space and a stunning kitchen with hi end Viking appliances. Upper has excellent sizes master bedroom , stunning en suite , 2 further bedroom, bathroom and Laundry. Basement has rec/media room located behind garage, nice pleasant garden ,garage even has its own flooring a real quality townhome .
Floor Area 1,896 Sq. Ft.


text:
Sam Rad Talks Tech's Social Impact at the Women in IT Summit
[ad_1] At last month's Women in IT Summit in New York, Samantha Radocchi, a futurist and serial entrepreneur who writes the Radical Next Ideas blog, spoke about the future of tech and its potential social impact. She spoke about possibilities that can open up by exploring change and paradigm shifts, which can take a bit…
Capital One's VP of Engineering Discusses Tech Productivity
[ad_1] InformationWeek's That DOS Won't Hunt podcast caught up with Marty Andolino, vice president of engineering with Capital One, in a conversation about productivity, burnout, and how his company worked to solve for this. In an era of drastic change, organizations are sorting out hybrid work and a return to office. There are also new questions about…
A Primer on Emerging Fintech
[ad_1] The pioneers and early adopters of new technologies historically have predicted the demise of the legacy market leaders. While some old companies crumble in the face of new tech, the smart ones adapt and work emerging technology concepts into their business models. What you're seeing in the financial sector today follows that pattern. Banks,…
Mobile Technology Is Transforming Bill Payment Habits
[ad_1] The payments industry is rapidly transforming, with innovative apps and more alternative payment methods becoming available daily. According to a recent survey from ACI Worldwide, consumers are adopting mobile payments at a faster pace than ever before, with 45% more paying with a mobile wallet in 2022 than in the previous year. Similarly, an…
VC and Analyst Notes from FinovateFall on the Future of Fintech
[ad_1] The FinovateFall conference, held this week in New York City, explored a range of going trends and potential developments in the fintech scene — despite the drubbing the sector faced this summer. A brief visit to the three-day event offered up venture capitalists who discussed where they saw smart investments being made in fintech…
How to Prepare for new PCI DSS 4.0 Requirements
[ad_1] The upcoming changes to the Payment Card Industry Data Security Standard (PCI DSS) will affect every organization that stores, transmits, or processes cardholder data and/or sensitive authentication data. Effective starting in March 2024, the new standard, known as PCI DSS 4.0, spans dozens of changes in areas including risk assessment, how keys and certificates…
FinTech Tools, Security Concerns Top of Mind for Gen-Z Banking
[ad_1] The expectations in the way younger generations engage or interact with a bank or financial institution (FI) is very different from that of previous generations. These digital native consumers expect instant decisions, personalized offers, and automated, digital experiences. This requires banks and FIs gain deeper insights from more data sources and AI and machine…


Browse our inventory for a new A3, A4, A4, Q5, Q7, Q8 or other Audi model. Get your e-price now and save.
Car-shopping is a blast--especially when you have your pick of the litter for new Audi inventory, including new 2019 Audi vehicles in Charlotte. Our newest selection of premium models is the best we've ever seen it, and we're excited to be able to share it with drivers in Huntersville, Lake Norman, Concord, and Cornelius who are sick of "same-old same" and are looking for something a bit bolder, and a lot sportier. With frequent featured new Audi models making the spotlight at Audi Northlake, it's easier than ever to find a fantastic deal on the well-equipped, well-bred, and high-powered sports sedan or luxury SUV that you want.
Explore new Audi sedans like the A-line--the new Audi A3, A4, A6, and A8--for performance at a practical price; see the best new modern features and connectivity in one compact or midsize luxury package. For added style and open-air enjoyment, consider new Audi coupes and convertibles. Need something with a bit more versatility than a sedan or a coupe? Experience capable premium wagons like the iconic Audi allroad, with spacious cargo room, standard quattro all-wheel drive, and tons of luxury features for downtown and backwoods alike. But if your active family or busy lifestyle demands the truly bold, then new Audi luxury SUVs like the new Audi Q3, Q5, Q8 and the stunning three-row Audi Q7 are your only true option. Their sold functionality, driver comfort, and intelligent performance is unparalleled.
In the new inventory listing above, you can sort Audi models by model, by body style, or by monthly payment--you can even choose whether you'd like to search by Audi lease payments or loan payments. Have something specific you're looking for, like a cold weather package, leather seats, all-wheel drive, premium sound, or technology package? Use the search function to filter out by exactly what you want.
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Remove the leaven from our lives and be a disciple of God.
In Mark 8:5, Jesus "cautioned us, saying, "Watch out; beware of the leaven of the Pharisees and the leaven of Herod" who represented both the politically correct religion and the politicians of Jesus' day.)"Leaven" is a pervasive influence that modifies and transforms our view of things.


I'm using the JetBrains ReSharper 6.0 package and for Lightswitch 2011 projects reshaper and intellisense does not work even after I (1) tried set Reshaper intellisense options to use only Visual studio 2010. And (2) I suspended reshaper,and restarted vs 2010. Still no luck with Lightswitch intellisense, but for my trouble, after suspending Reshaper, I found that VS intellisense also stopped working on other project types ( Console apps etc. ) and my workaround was to "resume" reshaper. I'm not sure where to go from here??
I have learned that Lightswitch is not supported by Resharper. However, (for some reason??) after suspending Resharper with Lightswitch I needed to go into VS and reset the text editor to use regular VS intellisense Tools – Options – Text Editor – All Languages – General and select ( assure check mark appears) Auto List Members and Parameter Information.


text:
Q: Check if time is between a time range, but also if the user only gives start or end time I have the user picking start and end times, and am trying to make an if statement that filters out all of the data that isn't within their time range.
    var startT = start date set by user
    var endT   = end date set by user
    var dbTime = some datetime in database

I know that an if statement like the following will check between a specified date (assuming the user sets both a start and  end time):
    if (dbTime > startT && dbTime < endT ){
     //do something
    }

I'm blanking on how to check all conditions scenarios without making this a giant if statement. So if a user just wants to see everything before a certain date, only specifying an end time but not a start time, it will still work.

A: if ((!startT || dbTime >= startT) && (!endT || dbTime <= endT))

That should do the trick. Basically, for each condition, you either filter based on that value, or you let it go through if you don't have that value.
For example, if I just give an endT of 2010-01-01, then all records that have a time less than or equal to that will work. Doesn't matter have much less it is.

A: So it sounds like you need to handle three top level cases:
1. User defines start date and end date
2. User only defines end date
3. User only defines start date

I'm going to assume that your variables will be undefined or null if your user does not specify the date. In that case, there are three top-level if conditions to handle your query. Something like the following should work:
if (startT && endT) {
 // handle all timestamps in between the range
   if (dbTime > startT && dbTime < endT ){
     //do something
   }
} else if (!startT && endT && dbTime < endT) {
 //handle everything before end timestamp
} else if (startT && dbTime > startT) {
 // handle everything after start timestamp
}


We are back with another edition of the Friday Five for the first Friday of June! How did it get to be June already? We are not sure about that, but what we are sure about is that June means weddings, and summer wedding season is in full effect. How do we know? Well, we have the Friday Five to prove it! Intrigued? Read on for this week's Friday Five courtesy of the lovely Rachael!
Note: we are taking this list slightly out of order, only because Rachael's go-to song is SO GOOD, and such a classic summer kind of song we think you should hit play and groove along while you read the rest of her list.
Now, in her own words, we bring you Rachael's Friday Five!
To a friend's wedding Saturday night. This is the first of seven this summer!
I bought a really cute blue beaded Adrianna Papell dress that I can finally wear this weekend.
Aveda dry shampoo! Saves me that extra 20 minutes that I can put towards sleeping or having that extra glass of wine.
Fantastic. Have a great time, Rachael!
Press play again on that killer song, and have a great weekend, everyone! See you Tuesday!


Join the Duke Law ACLU for a panel discussion about the way impact litigation strategy is (or isn't) changing as the makeup of the Federal Courts shifts. Panelists include Cristina Becker of the ACLU of NC, Gretchen Engel of the Center for Death Penalty Litigation, Ames Simmons of Equality NC, and Blakeley Hildebrand of the Southern Environment Law Center. Sponsored by Duke Law ACLU. For more information, please contact Kelley Storey at ks306@duke.edu.


text:
Four talking points from Karl Robinson's pre-Blackburn Rovers press conference
Karl Robinson spoke to the media on Thursday morning ahead of Saturday's trip to Blackburn Rovers. Here are four key talking points from his weekly press conference...
Preparing for Blackburn Rovers…
"We seem to be coming up against teams who are in good form while we are losing some of our players. We had a great training day on Tuesday, the lads were excellent and put a right shift in.
We've really worked hard, we've got things ready tactically and tried one or two things this week that we think might negate some of their strengths.
"They've got one of the best squads in the league. That's shown by what they spent in the summer and what they've brought in. Tony Mowbray is a top manager and it's a great club.
"Ourselves and Blackburn are two teams who are used to playing in the Premier League and next week have Blackpool who have also been there. Then we go to Wigan, so it just shows how strong League One is.
"This is a very difficult run of games so we need our players back fit and firing because we're a weaker team without them."
The injury list…
"Ahmed Kashi is out running this week and Tariqe Fosu is having a rescan this week to make sure he can push forwards, but Saturday will be too early for him.
"Jason Pearce is fit and available, so the list is shortening but it shows you how long it was. We're still without Patrick Bauer, but he'll be back on the training field, hopefully, tomorrow. He won't be too long away.
"It's funny how you hear Premier League managers talk about losing their star players and it makes headlines, but when we lose our players at a lower level, we just have to get on with it!
"That doesn't mean that we're not good enough to go and win. All it means is those who have been knocking on the door for a while need to stand up and be counted."
The January transfer window…
"I'm looking forward to it because I know exactly who I want. My shopping list has been handed in and I'm waiting for the sales to open on the 1st and we'll get our job done. I know exactly what we need. I've never been so clear going into a transfer window about what we need.
"I think we all know we need strikers and probably cover in two areas to fight with the people who are playing. I feel that if we lose one or two players, we look worse so we need to make sure we have areas covered and strikers coming in to support what we have.
"I know who I want and where they play. I'm very clear."
The players' Christmas party…
"The player's didn't do anything wrong by having a Christmas party. What was stupid and disrespectful was posting it on social media.
"I come from an age where we didn't have to tell everybody about what you were up to. We got beat in a game which hurt us and I saw that in the dressing room afterwards. But this was something that was planned three months in advance. Was it right to put it on social media? No. Did they deserve a Christmas party? Yes. Was the timing great? No.
"It fitted in with our games programme, but I'm not happy with the posting online because it's almost like rubbing it in people's faces. They've been told that it isn't acceptable, at all. I only found out on Monday morning, so you can imagine my response.
"Four or five went on the Christmas do a few years ago, five or six the following year and seven the year after. 22 went this year, together as one. We're very close, we care for each other, we fight for each other and we really do believe passionately in the football club."
Karl Robinson's full press conference will be available to watch on Valley Pass on Thursday afternoon


text:
Q: How with JQuery cause Hover on diffrent element than mouse is currently on top of I got image which is partialy overlapped by DIV, this particular image got its border set with CSS in external file to change color when mouse is over image.
problem is when i move mouse from image to div overlapping it, then image losts hover and border is going back to normal state.
How to tell to element with particular ID that mouse is still over it when i enter div above image? I've managed to make detection when mouse is hover DIV but no results with telling to image that mouse is still over it
i want to avoid using altering CSS
$("#imageID").css('border-color','#FFF');

and in some other way cause that behaviour which i'm looking for?
Thanks in advance for answers
MTH

A: Well if this particular div is always floating over the same image then you can add a "hover" class to the lower image when the mouse is hovering the upper div. Then you can still style the image with hover class in your css file.
HTML

jQuery
$("#divID").hover(function() {$("#imageID").addClass("divHover");},
                  function() {$("#imageID").removeClass("divHover");});

CSS
#imageID { border-color: #000; }
#imageID:hover, #imageID.divHover { border-color: #FFF; }

A: Z-index might help.  Usually tags are ordered by when they're named.  With z-index in css you can change the div to a lower z-index than the image.  I'm not sure it'll work in all browsers though w3c says it is, YMMV. W3C z-index


text:
Na dinâmica dos fluidos e hidrologia, a lei de Darcy é uma equação constitutiva fenomenológica derivada que descreve o fluxo de um fluido através de um meio poroso. A lei foi formulada por Henry Darcy com base nos resultados de experimentos, publicado em 1856 sobre o fluxo de água através de leitos de areia. Constitui também a base científica da permeabilidade de fluidos utilizados em ciências da terra.

Permeabilidade
A permeabilidade dos corpos consiste em uma propriedade dos corpos de permitirem, com maior ou menor facilidade, o escoamento de água através dos seus poros. Já a permeabilidade dos solos consiste, basicamente, em medir a velocidade de percolação da água em uma determinada amostra, considerando-se em escoamento laminar, considerando-se a temperatura no momento da análise.

Aplicação do estudo de permeabilidade
A lei de Darcy é amplamente difundida nos estudos (projetos geotécnicos) de barragens, hidroelétricas, filtros drenantes, fundações,  fossas sépticas, construções que envolvem movimentação do solo e estabilidade.

Coeficiente de permeabilidade
O coeficiente de permeabilidade, K, é um índice empregado para estabelecer parâmetros de permeabilidade dos solos. Resumidamente, é um valor que representa a velocidade com que a água atravessa uma amostra. Como este índice é bastante pequeno numericamente, foi convencionado expressar seu resultado em forma de potenciação, exemplo: K = 2,20 x 10−5 cm/s ou K = 1,27 x 10−7 m/s
Como a temperatura influencia no valor final de K, foi convencionado que ele deve ser convertido para uma temperatura final de 20°C, corrigindo-se a viscosidade da água à temperatura do ensaio:
K20º = Kt x (Mt / M20º), onde: M20º = Viscosidade da água a 20 °C e Kt = Coeficiente da temperatura do ensaio.

Fatores que influenciam a permeabilidade do solo
O coeficiente de permeabilidade pode sofrer alterações consideráveis em função do índice de vazios do material e da temperatura da água no momento do ensaio. Um mesmo solo poderá apresentar, conforme sua situação, coeficiente de permeabilidade diferente:
O índice de vazios (e) da amostra é diretamente proporcional ao coeficiente de permeabilidade, ou seja, quanto maior for o índice de vazios, maior será o valor do coeficiente de permeabilidade;
A temperatura da água é outro fator que alterará o resultado final do valor do coeficiente de permeabilidade, caso haja aumento de temperatura da água, haverá a redução da sua viscosidade e, com isso, a água fluirá mais facilmente pelos vazios da amostra, reduzindo o tempo gasto para atravessá-la. Assim, o coeficiente aumentará, ou seja, solos ensaiados a temperaturas mais elevadas apresentam coeficientes de permeabilidade maiores;
O tipo de material analisado também irá exercer influêcia sob o coeficiente de permeabilidade. Solos granulares, como pedregulhos e areais, apresentam maior coeficiente de permeabilidade. Solos finos siltes e argilas apresentam menor coeficiente de permeabilidade.

Lei de Darcy

A lei de Darcy que calcula a vazão Q em um meio poroso é dada pela relação entre a permeabilidade do meio ,  a queda de pressão (), a viscosidade do fluido μ, ao longo de uma distância L e área de seção transversal A, :
 .

Em 1856, Darcy enunciou a lei do regime de escoamento:

A velocidade de descarga da água dentro de um regime de escoamento laminar é diretamente proporcional ao gradiente hidráulico, isto é, a perda de carga por comprimento da amostra. Sendo V = K x i, onde:

V = Velocidade de descarga em (cm/s ou m/s)

K = Constante de permeabilidade (cm/s ou m/s)

i = Gradiente hidráulico

i = h/L, onde:

L = Altura da amostra (cm)

h = Carga hidráulica (cm)

Determinação do coeficiente de permeabilidade
O coeficiente de permeabilidade dos solos, poderá ser determinado em laboratório ou em campo além de ser estimado através da equação empírica.
A permeabilidade de carga constante é calculada através:

K = (Q x L) / (A x t x h), onde:

A = Área da amostra onde flui a água. (cm²)

t = Tempo de escoamento da água (s)

A Permeabilidade de Carga Variável é calculada através:

K = 2,3 x [(a x L) / (A x t)] x Log (h1/h2), onde:

a =  Área do tubo de carga (cm²)

h1 =  Carga hidráulica inicial (cm)

h2 =  Carga hidráulica final (cm)

O coeficiente de permeabilidade pode ser determinado através do ensaio de adensamento o que possibilita determinar esse índice quando o solo estiver sob carregamento.
O coeficiente de permeabilidade em solos pedregulhosos e arenosos, podem ser estimados pela fórmula de Hazen, utilizando a análise granulométrica:

K = (Def)² x 100, onde:

Def = Diâmetro efetivo do solo

Fluxo de Água nos Solos
A velocidade de descarga e a velocidade real da água:

A = L x h

Velocidade = Vazão/Área (m/s)

Obs.: A  água atravessa a amostra de solos pelos vazios, logo:

Q = A x V = AF x VF, onde;

A = Área total

AF = Área de Vazios

V = Velocidade Inicial
VF = Velocidade final

Como A/AF = I/M = Vt/Vv então VF = V/M

Referências

.

Ver também
Mecânica dos solos
Permeabilidade (geologia)
Karl von Terzaghi
Hidrogeologia

Engenharia
Mecânica dos solos


text:
Passaic County man facing federal robbery charges released on bond
A Passaic County native, accused of driving the getaway car in a February holdup at a TD Bank in Hawthorne, was brought before a federal judge in Newark on Friday who ordered his release on $100,000 bond. Alejandro Ortiz, 20, was charged with bank...
Passaic County man facing federal robbery charges released on bond A Passaic County native, accused of driving the getaway car in a February holdup at a TD Bank in Hawthorne, was brought before a federal judge in Newark on Friday who ordered his release on $100,000 bond. Alejandro Ortiz, 20, was charged with bank... Check out this story on northjersey.com: http://northjersy.news/2eZMHx0
The Record Published 4:15 p.m. ET Sept. 2, 2016
Alejandro L. Ortiz (left); Robert N. Somers
A Passaic County native, accused of driving the getaway car in a February holdup at a TD Bank in Hawthorne, was brought before a federal judge in Newark on Friday who ordered his release on $100,000 bond.
Alejandro Ortiz, 20, was charged with bank robbery in a criminal complaint filed in federal court last week. He and his alleged accomplice, Robert Somers, 44, of Little Falls, had initially been charged by state authorities in connection with the Feb. 17 robbery at a TD Bank branch on Lafayette Avenue.
Related: Little Falls man faces federal robbery charges in holdup at Hawthorne bank
During a brief hearing Friday, U.S. Magistrate Judge James B. Clark III advised Ortiz of his rights and appointed Caldwell defense attorney Richard Verde to represent him. The judge agreed to release Ortiz on an unsecured $100,000 appearance bond.
Ortiz, who attended Wayne Valley High School and has no prior criminal record, is now living with his mother in Haskell, working and attending college part time, the defense lawyer told the judge.
Clark placed Ortiz in the custody of his mother, who was in court, and ordered electronic location monitoring with a curfew and limitations on his travel.
Ortiz was living with his stepfather in East Stroudsburg, Pa., when the robbery occurred, Verde said.
According to the complaint, Somers entered the bank about 4 p.m. wearing a hooded sweatshirt, a hat and gloves, and handed a note to a teller announcing the robbery.
He allegedly demanded more cash after the teller gave him just $500, and a second teller then took another $860 out of the cash drawer and gave it to Somers, the complaint said.
As he fled the bank, Somers dropped about $420. A bank customer saw Somers enter a 2015 black Mitsubishi and followed the car taking photographs and video of its Pennsylvania license plates with a cell phone camera, the complaint said.
Ortiz was taken into custody later that evening after he crossed into Pennsylvania driving the Mitsubishi. After his arrest, he told police that he had been involved in a robbery with Somers earlier that day, the complaint said. Ortiz spent several months in the Passaic County Jail before he made bail in April, Verde said.
Somers was arrested the day after the robbery when he went to Municipal Court in Wayne to attend to an unrelated matter, authorities said.
Somers was brought to Newark Friday for an initial appearance before U.S. Magistrate Judge Leda Dunn Wettre who advised him of his rights and appointed a public defender to represent him. Somers consented to detention with the right to make a bail application at a later time, court documents said.
If convicted of bank robbery, they could each face up to 20 years in prison.
Email: sampson@northjersey.com
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