text:
The Aggregate Operator
The Aggregate operator processes multiple input records as a group, producing a new set of data.
The scope of the Aggregate operator is different to that of the Formula operator. The latter deals with a single row of data, ie a distinct record. The Aggregate operator, however, makes comparisons and performs calculations across rows of data, eg aggregating several different results for a single student.
Therefore, the Aggregate operator contracts the data fed into it. It allows you to take multiple records and combine them according to your requirements, outputting the combined information.
Enter a useful description of the function of the Aggregate operator, as this is what will appear in the Aggregate operator box in the Steps pane.
The Available fields pane contains all of the fields that are available to the Aggregate operator from the upstream operators. These may include user defined fields from other operators, such as a Formula operator. These fields are selected from to form your Group by fields.
Fields from the Available fields pane are moved into the Group by pane by clicking the icon between the two panes. Double clicking the field will also insert it.
In the Group by pane the fields by which the data is to be aggregated, or grouped are entered, their order being irrelevant.
In this example, the data is being grouped by student code and the year.
Academic cycle fields usually need to be included in order to be able to display cycle specific data downstream, eg the student's year level, although the field Ct.YRLV.Name or Ct.YRLV.Code could have been used for this purpose also.
On the other hand, including the academic cycle may restrict the scope available to a downstream Expand Operator which you require to extract data across years.
In the Formula expressions table, you create new fields from the data coming into the aggregate operator. Each new field is given a name, which should be unique and easily identifiable.
A calculation is entered, that determines what data is aggregated and under what conditions, the result of which being held in the new field. The new aggregated fields become available in the downstream operators, eg the Print operator.
You may enter each formula directly into the cell in the table or click the Browse button to bring up the Calculation Editor where you can compose the formula.
In most case, the Only output summary information checkbox is ticked. This means that only the aggregated rows of data will be output. Otherwise, every row of data which contributed to the aggregation is output, including the aggregated new fields.
Where you want to include the raw data as well as the aggregated fields, deselect this checkbox.
For example, you may have an Aggregate operator that counts the number of As, Bs, Cs, etc for each student, across all of their subjects. If you wanted to include details of the subjects of the student and the grade for each, as well as the count fields in the Print operator, you would deselect the Only output summary information checkbox.
Grouping data
The Group by pane is where you insert the fields by which you want to aggregate or combine the multiple rows of data, ie for each unique combination of the fields inserted, the calculations are to be performed.
Take the example where you want to count the numbers of As, Bs, Cs, etc:
• If you inserted the student code and an annual academic cycle field, you are saying, count the number of As, Bs, etc for every student for each cycle.
• If the subject code was inserted instead, the calculations that are counting the results, will keep the count for every subject code.
The fields used for grouping are extremely important for downstream operators also, as they determine the data that will be available to these, eg for inclusion in the Print operator. This is because the Aggregate operator contracts the data stream which is fed into it, so that the output is limited, based on the grouping fields used.
For example, if grouping by student and you do not include the YEAR.Name or similar annual cycle field in the Group by pane, then student fields which vary across years, eg the student's year level and home group may not be available for inclusion in any of the downstream operators such as the Print operator.
Aggregate operators without formulae
It is not always necessary to set up new fields in the Aggregate operator as there are certain situations where the Aggregate operator is used to simply summarise the data coming into it for the purposes of downstream operators, and in particular the Expand operator.
For example, the data from the Source operator may be restricted to a particular year or a particular set of results for students. In order to be able to expand this information to other years' results or less specific information, we need to contract back to a less specific level.
This requires an understanding of entities, whereby the Students entity is the least specific and the Results entity the most detailed entity. When the source data is so restricted and so specific, there is nothing else that can be expanded upon. On the other hand, if all we know is the student's code, all data about the student code, for all years, is potentially available for us to expand upon.


← Alice is About to Adventure in Wonderland!
You Know It's Been Busy When There's No Time For the Internet!
Right after Alice in Wonderland closed, I had another amazing weekend in Steven Anderson's Actorswork intensive. Always walking away fulfilled and with a skip in my step.
I adapted the short story, The NUTCRACKER, into a play for the Bellevue Youth Theatre entitled – CLARA & THE NUTCRACKER, which opens at the end of November.
And just when I thought I would have a weekend to recuperate from my summer of 140 kids and my adventure down the rabbit hole I was invited to participate in 14/48 – The World's Quickest Theatre Festival. And if you are a theatre artist in Seattle this is not an opportunity to which you respond with anything but an exuberent F YEAH. This experience [9/7-8] was one of the most incredible fulfilling artistic experiences of my life. I could write for days about it and still not have the words to explain what it meant to me to be a part of it.
I [somehow] went into rehearsals the following day [9/9] for the OWL & THE PUSSYCAT with theater simple. A few [literally] quick and dirty rehearsals and I made my debut as the PIG at the reboot of the Seattle Fringe Festival. Fun. Fabulous. Always a pleasure to play with theater simple & their unyielding creativity, support & love.
I started rehearsals for CLARA & THE NUTCRACKER at BYT and have had such a fun time discovering this story with my kids. They are some of the most imaginative, talented kids I have ever worked with and I am getting so excited for all of our theatre magic to show up during tech week! I hope you get the chance to see it too.
I got to play again with the Pacific Play Company. We put together another night of Playwrights vs Poets. This time for Seattle's ART CRUSH. Another quick & dirty chance to play and work with some of Seattle's finest writers & actors.
Balagan Theatre is producing one of my favorite plays, AUGUST: OSAGE COUNTY. And I am lucky enough to have been given the chance to Assistant Direct it this spring. We are in auditions now & it continues to amaze me the level of talent that exists here. I am so happy & excited to be here working, creating, collaborating & playing with this community.
I had another Actorswork weekend with Steven Anderson this past weekend and as I said walked away as fulfilled as ever, if not more so. I had one of the most incredible acting experiences of my life during my scene. It truly makes me realize what consistent training and dedication to one's craft can do. I'm in this for the long haul, friends.
And FINALLY. I think finally, anyway. I was offered the opportunity to direct PUSS IN BOOTS [a new musical] at Second Story Rep. We have auditions this Sunday! Come. It is going to be a fun one. Promise.
I'm sure I'm forgetting something, but this looks like [way more than] enough of an update for one day.
This entry was posted in Acting, Bellevue Youth Theatre, Directing, Teaching Artist. Bookmark the permalink.


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Pay a Sack Forward uses every dollar to make direct and social change and nothing goes to waste.
These are distributed by our volunteer team, and through our partner organisation's including food vans, drop in centres and outreach services.
Sacks are distributed by our volunteer team through our network of partner organisations including food vans, drop in centres and outreach services.
We are extremely lucky to have an amazing team of café's and businesses who have been generous enough to donate some of their counter space to display our donation tubes. Our supporting cafe's have played an integral part in helping move PASF from a small concept into the real and tangible program that it is today.
Through their passion to help create change, they continue to help spread awareness through the community whilst generating much needed funding to provide support and care to those who need our sacks the most. To check out our cafe network, click here to find the supporting cafe nearest you.
Are you a School or Business? If you'd like to host a fundraiser, please get in touch for more info.
Additionally we provide our support partners such as drop in centres, food vans, outreach services and community groups with bulk product supply, food supply for weekly meals, and clothing from our op shops. Emergency accomodation is our latest area of interest and support, specifically in the form of home share.
At pay a sack forward we are committed not only to the support of those experiencing homelessness but also those highly at risk of homelessness.
Your donations help assist 55 people a month and with your help, we can do more. We encourage you to pop into one of our amazing cafe's, grab a coffee and make a donation. Just by doing so you are not only helping those living rough but also the people that support us as we grow.
Follow us and Share on Facebook and Instagram to spread the love. If you'd love to get involved to help bring happiness and comfort to those who need, get in touch.


text:
<?php
/**
 * Leitor de configurações
 */

namespace Config;

use Exception;

class Leitor {
	private $raw_json;

	public function __construct($arquivo) {
		if (!file_exists($arquivo)) {
			throw new Exception('O arquivo de configurações \''.$arquivo.'\' não existe.');
		} else {
			$this->raw_json = @file_get_contents($arquivo);
		}
	}

	public function getRawJson() {
		return $this->raw_json;
	}

	public function setRawJson($valor) {
		$this->raw_json = $valor;
	}

	public function setArquivo($arquivo) {
		self::__construct($arquivo);
	}

	public function getJsonObjeto() {
		return json_decode($this->raw_json, true);
	}
}

?>

redpajama_set_name: RedPajamaGithub


text:
Visual C#: Navigation in Applications
Excerpt by Robert Green and Ken Getz | February 11, 2014
In most client applications, users can have any number of windows open at the same time. In Outlook, you can have the Inbox, Calendar, Tasks, and Contacts open at the same time. You can have multiple messages, appointments, tasks and contacts open at the same time. You are limited solely by your tolerance for navigating amongst large numbers of windows. When you create a Windows Forms Application project in Visual Studio, the first thing you see is a form. Often this will be your startup form.
You then add any number of forms to the application. Each form is a window and it serves a purpose, whether it is data entry or reporting or a splash screen or navigation. Whether users navigate by selecting a menu item or clicking a button, the application displays a new form in a new window. Web applications take the opposite approach. Typically, you will have one window open, and that is the browser. As you navigate within a site, you load a different page in the browser and you have one page open at a time. This is not always the case, but it is true much more often than not. In a WPF application, you can choose either of these navigation paradigms. The WindowNavigationDemo sample application consists of three windows. The MainWindow.xaml file defines the application's startup window.
It contains buttons to display the other two windows, defined in Window1.xaml and Window2.xaml. Both of these windows can be open at the same time, as shown in the figure below.
Figure above, this application uses window-based navigation. When you create an application based on the WPF Application project template, Visual Studio assumes that you will use windows-based navigation. It sets the startup window to MainWindow.xaml.
If you want to use page-based navigation, and make your application look and feel more like a Web application, you need to use pages rather than windows. You should also consider using hyperlinks rather than buttons. The Page class is similar to the Window class. Each is a container and can contain a single element, such as a StackPanel, DockPanel, or Grid. A primary difference between a window and a page is that a page is designed to be navigated to. A page can be hosted in a Window, a NavigationWindow, a Frame, another page, or the browser. Because it is not a standalone container, it has a smaller set of properties than a window. The Page class contains several properties, including the following:
Background: Determines the background for the page
Foreground: Determines the default foreground for the page. All elements in the page will have this foreground by default.
FontFamily and FontSize: Determine the default font family and size for the page. All elements in the page will have this font size and family by default.
ShowsNavigationUI: Determines whether the page displays back and forward buttons.
Title: Sets the name of the page used in the navigation history.
WindowHeight and WindowWidth: Determine the height and widthof the window that hosts the page.
WindowTitle: Determines the title of the window that hosts the page.
The NavigationWindow class represents a window with built-in navigation support. This class derives from the Window class and includes the ability to display content and navigate. The content can be any .NET Framework object or HTML page, but typically the content will be in a page. The NavigationWindow object supports not only navigation but the navigation history. Some of the properties of the NavigationWindow class are: BackStack and ForwardStack: Return an IEnumerable you can use to enumerate the entries in the window's back and forward navigation history.
CanGoBack and CanGoForward: Indicate whether there is at least one entry in the back and forward navigation history.
CurrentSource: Gets the uniform resource identifier (URI) of the content that was last navigated to.
ShowNavigationUI: Determines whether a NavigationWindow shows its navigation buttons.
Source: Gets or sets the uniform resource identifier (URI) of the current content, or the URI of new content that is currently being navigated to.
This post is an excerpt from the online courseware Presentation Foundation Using Visual C# 2010 course written by expert Ken Getz and Robert Green.
Robert Green is a Visual Studio expert and a featured instructor for several of our Visual Basic and Visual C# courses. He is currently a Technical Evangelist in the Developer Platform and Evangelism (DPE) group at Microsoft. He has also worked for Microsoft on the Developer Tools marketing team and as Community Lead on the Visual Basic team. Robert has several years of consulting experience focused on developer training and is a frequent speaker at technology conferences including TechEd, VSLive, VSConnections, and Advisor Live.
Ken Getz
Ken Getz is a featured instructor for several of our Visual Studio courses. He is a Visual Basic and Visual C# expert and has been recognized multiple times as a Microsoft MVP. Ken is a seasoned instructor, successful consultant, and the author or co-author of several best-selling books. He is a frequent speaker at technical conferences like Tech-Ed, VSLive, and DevConnections and he has written for several of the industry's most-respected publications including Visual Studio Magazine, CoDe Magazine, and MSDN Magazine.
WPFC#
This course excerpt was originally posted February 11, 2014 from the online courseware Windows Presentation Foundation Using Visual C# 2010 by Robert Green and Ken Getz

redpajama_set_name: RedPajamaCommonCrawl


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The weight of a fish tank increases with the volume capacity of a tank.


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text:
Wilhelm Pfitzner (* 22. August 1853 in Oldenburg in Holstein; † 1. Januar 1903 in Straßburg) war ein deutscher Anatom und Hochschullehrer.

Leben
Pfitzner besuchte das Johann-Heinrich-Voß-Gymnasium in Eutin. Nach dem Abitur studierte er Medizin an Kaiser-Wilhelms-Universität Straßburg, der Ruprecht-Karls-Universität Heidelberg, der Georg-August-Universität Göttingen und der Christian-Albrechts-Universität zu Kiel. Seit 1874 Mitglied des Corps Rhenania Heidelberg, rekonstituierte er 1877 das Corps Holsatia nach dreijähriger Suspension.  1878 legte er das medizinische Staatsexamen ab. 1879 wurde er an der Universität Kiel zum Dr. med. promoviert. 1880 wurde er Assistenzarzt am anatomischen Institut in Heidelberg. Ostern 1883 ging er als Assistent zu Gustav Schwalbe an die Albertus-Universität Königsberg und folgte diesem im Herbst desselben Jahres an das anatomische Institut in Straßburg, wo er sich 1885 für Anatomie habilitierte. 1891 wurde er in Straßburg als a.o. Professor für topografische Anatomie und 1893 als Prosektor berufen. Er starb mit 49 Jahren im Amt.

Pfitzner befasste sich mit dem Skelett, über Zellbiologie und der Anthropologie. Er war der Namensgeber der Pfitzner'schen oder Balbiani-Pfitzner'schen Körner, die zur  granulären Struktur der Chromosomen gehören.

Auszeichnungen
Das Corps Holsatia ernannte Wilhelm Pfitzner 1883 zum Ehrenmitglied.

Schriften
 Ueber die Leydig'schen Schleimzellen in der Epidermis der Larven von Salamandra maculosa, 1879
 Über den feineren Bau der bei der Zelltheilung auftretenden fadenförmigen Differenzierung des Zellkerns, 1880
 Zusammensetzung der chromatischen Fäden des Zellkerns, 1881
 Zur pathologischen Anatomie des Zellkerns, 1885
 Leitfaden für Situsübungen an der Leiche (erschien bis 1946 in elf Auflagen)

Literatur
 Pagel: Biographisches Lexikon hervorragender Ärzte des neunzehnten Jahrhunderts. Berlin, Wien 1901, Sp. 1290. (Permalink)

Weblinks
 Großes Seibert-Mikroskop von Prof. Wilhelm Pfitzner auf musoptin.com
 Wilhelm Pfitzner auf corpsarchive.de

Einzelnachweise

Mediziner (19. Jahrhundert)
Mediziner (20. Jahrhundert)
Anatom
Hochschullehrer (Universität Straßburg)
Corpsstudent (19. Jahrhundert)
Deutscher
Geboren 1853
Gestorben 1903
Mann
Ehrenmitglied eines Corps
Absolvent der Christian-Albrechts-Universität zu Kiel

redpajama_set_name: RedPajamaWikipedia


text:
YCAA Writing Competitions
Each year, the YCAA runs a number of writing competitions to encourage creativity and raise money.
Yeovil Literary Prize
Run between January and May each year, the Yeovil Literary Prize (YLP) is open to writers around the world. The YLP started in 2002 and has become an established fixture of the international writing competition calendar. There are five categories:
Children and Young Adult's Novel.
Writing Without Restriction.
The aims of the YLP are to promote creative writing, provide a genuine opportunity for aspiring writers everywhere, and to raise funds for the YCAA. All profits from this competition are used within the community to sponsor local young people who are studying the arts, to support various art projects, and to host cultural events. For full details of this year's competition, as well as information about previous winners, prizes and more, please visit the Yeovil Literary Prize website.
Children's and Young Adult Novel
Writing Without Restrictions
Best Local Writer Award
Requirement: Synopsis and Opening Chapters (combined maximum 10,000 words)
Professional Judge: Barney Norris (Fellow of the Royal Society of Literature)
Prizes: 1st £1250 2nd £300 3rd £125
Entry Fee: £14.50
Requirement: Maximum 2,000 words
Professional Judge: Nicholas Royle (Reader in Creative Writing at Manchester University)
Prizes: 1st £600 2nd £250 3rd £125
Entry Fee: £8
Requirement: Maximum of 40 Lines
Professional Judge: Adjoua Parker (Writer and Poet of English-Ghanaian Heritage)
Requirement: First 3000 words plus a 500 word synopsis (May include one illustration)
Professional Judge: Sharna Jackson (author who specialises in engaging young people)
Requirement: You write it – we'll read it.
Professional Judge: Hazel Prior (Best selling author)
Prizes: 1st £250 2nd £125 3rd £75
Requirement: for a short-listed entry by author living in Western Gazette distribution area.
Professional Judge: The Yeovil Community Arts Association committee
Prizes: £100
Children's Short Story Competition
Our annual writing competition for children takes place near the start of each year. The competition is open to pupils in year 5 and 6 (aged 9 to 11 years old) attending a South Somerset primary school or living in the South Somerset area. They are encouraged to write a short story of up to 500 words on a specific theme. It can be any genre, but must be original and unpublished work by the young person. The competition is free to enter, and there are prizes for the top story writer and their school. Stories are judged on originality, plot, characterisation, use of language and enjoyment.
2022 Children's Short Story Competition
In 2022, the YCAA partnered with the Yeovil Town Community Sports Trust for the children's short story competition. The competition opened in January with the theme of 'Discovery' and has a closing date of Friday 4th March 2022. Winning youngsters will receive either £30 or £15 in book tokens, while their school will receive £250 in book tokens and an additional prize donated by the Yeovil Town Community Sports Trust.
For full details of the 2022 competition, rules, timeline and entry forms, please see the links below:
YCAA Children's Short Story Competition 2022 – Poster
YCAA Children's Short Story Competition 2022 – Timeline
YCAA Children's Short Story Competition 2022 – Terms & Conditions
YCAA Children's Short Story Competition 2022 – Schools Entry Form – For schools submitting entries on behalf of more than one pupil.
YCAA Children's Short Story Competition 2022 – Parents and Guardians Entry Form – For parents/guardians/teachers submitting an entry on behalf of one pupil.
If you have any queries, please email childrenscomp@yeovilarts.co.uk.
Mini-Saga Competition
The YCAA and Western Gazette newspaper's Mini-Saga competition starts in late November each year and runs for a month. Ideal for flash fiction writers or those who like a creative challenge, entries must be 50 words long, have a 17-word title, and relate to a specified theme. Previous themes have included 'Stir' and 'Hope'. Details of how to enter are published in the Western Gazette alongside an entry form which must accompany each story. There is no entry fee, but winning writers receive book tokens and their work is printed in the newspaper in early January. Look out for news of the next Mini-Saga competition on our Twitter and Facebook pages towards the end of the year.
2020/21 Mini-Saga Winners
WOULD YOU LIKE TO JOIN?
The YCAA is always looking to expand its membership so that we can really build a cultural community in Yeovil. A larger membership will allow greater diversification, and more opportunities for inspiring ideas. More info…
YEOVIL ARTS EVENTS
YCAA Book Club
24/11/2021 – Winter Impromptu!
Yeovil Community Arts Association
The Octagon Theatre
Hendford
Yeovil BA20 1UX
A registered charity
The Yeovil Community Arts Association (YCAA) was formed in 1984 by a group of interested parties that were campaigning for an Arts Centre in Yeovil.
In 1988, the YCAA became a Registered Charity No. 299372 and opened 80 South Street, an arts centre and café in the centre of Yeovil. Continue reading…


text:
Rohmanpak.com
BPSC JOBS
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New Jobs in Space Technology 2022-Latest Jobs in Islamabad Join Now To Apply
New Jobs in Space Technology 2022 Latest IST Jobs December 2022 have been announced through the most recent advertisement, and the organization is searching for candidates who are interested, dynamic, experienced, and brilliant in order to fill these positions with a handsome salary package and allowances according to the policies of the department. The Institute of Space Technology (IST) is looking for suitable experts and individuals to fill the following statutory job.
The eligible male and female candidates from across the country can apply for these Institute of Space Technology Jobs through the process that has been outlined by the organization. After the completion of the recruitment process, these Today Jobs in Pakistan 2022 will be made available to the successful applicants.
At the beginning of the twenty-first century, nations all over the world are mulling about whether or not they should go through with plans to launch a broad range of spacecraft for activities such as astronomy, remote sensing, communications, crewed and robotic exploration, and other endeavors. In order to conduct probable future space operations at a cheaper cost and with higher performance than those that are currently possible, advanced space technologies are required.
It is necessary for it to make efforts in space research and technology development in important areas needed for the long terms in order for it to be able to fulfill its long term goals and to enable ambitious future space operations.New Jobs in Space Technology 2022
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The extremely high cost of accessing space in the present day is a significant barrier to both scientific investigation and the commercialization of space. Only operations in military and civilian space should get sponsorship from the government. It is recommended that the commercial space industries, academic institutions, and government (s) (committee) work together to construct the critical technologies that require long-term lead-time research and technology development. This will ensure that the technologies are available when they are required. If the space agencies want to be a source of technology for industry and other government programs in the new century, they will need to design a plan and a method to promote the development of sophisticated technologies over the long term.
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Details: New Jobs in Space Technology 2022
Date Posted 03-12-2022
Industry Government
Hiring Organization Institute of Space Technology
Jobs Location Islamabad
(Last Date) 18-12-2022
Education Requirements Bachelors
No. of Posts 02+
Newspaper Express
Address Institute of Space Technology,Islamabad
New Jobs in Space Technology 2022
Name of Post: New Jobs in Space Technology 2022
Name of Post Qualification
Controller of Examination Bachelor
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The location of the position is in Islamabad. The IST campus in Islamabad is where the interviews will take place.
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Ex-Govt. According to the regulations of the government, an age reduction may be given to workers who are qualified for the post.
TA/DA will not be permitted to participate in the interview in any capacity.
The closing date for the submission of applications will be fifteen days after this advertising is first published.
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text:
Wisconsin Conservation Congress
Joint Finance Committee Approves Duck Stamp Increase to be Included in State Budget
The Wisconsin DNR has been selling waterfowl stamps for more than 40 years.Each year, sales from the stamp generates hundreds of thousands of dollars for…
Wisconsin Conservation Congress Holding Spring Hearing Virtually
The Wisconsin Conservation Congress wants your input."We're hoping to hear from anybody and everybody that has interest in Wisconsin's natural resources,"…
Conservation Congress Cancels April Public Meetings, Online Open
Ken Krall
In light of COVID-19, the Wisconsin Conservation Congress (WCC) and the DNR have announced the in-person portion of the 72 public meetings known as the…
DNR-WCC Hearings Will Allow On-Line Presence
There's a twist this year for people interested in participating in the annual Spring Fish & Wildlife hearings involving the DNR and the Wisconsin…
Wi. Conservation Congress Steps Up Youth Program
The Wisconsin Conservation Congress and the DNR are partnering to expand the Youth Conservation Congress. The Conservation Congress advises the DNR on…
Anglers Favor More Trolling
Wisconsin anglers could use motor-boats to troll for fish statewide, under a proposal endorsed at the annual conservation hearings. The D-N-R announced…


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Bernice R. Lessen, 85, of 101 Alpine Drive, DeWitt, died Monday at Crouse Irving Memorial Hospital. Mrs. Lessen was a life resident of the Syracuse area. She retired in 1970 from the housekeeping department of Van Duyn Hospital. She and her husband, Morris, previously operated the Silver Star Market on Delaware Street. He died in 1953. After retiring, Mrs. Lessen was employed part-time with Laubach Literacy. She was a member of Temple Adath Yeshurun and its Sisterhood and Temple Seniors Group. She also was a life member of Hadassah and a member of the Seniors Group of the Jewish Community Center. A daughter, Barbara Wallace, died in 1980. Surviving are a son, Sheldon J. of Sherman Oaks, Calif.; a sister, Dorothy Richman of Hudson; three grandchildren; and two great-grandchildren. Services are 11 a.m. Thursday at Birnbaum Funeral Chapel. Calling hours are 10 to 11 a.m. Thursday at the funeral home, 1909 E. Fayette St. After the services, friends may call at the home of her grandson, Michael Wallace, at 5 Lyndon Road, Fayetteville.


The deciduous Sandbar Willow, or Narrow-Leaf Willow, are native to the western hemisphere of North America, from Texas to California to Canada. They are comprised of thin gray leafs with smooth softgray bark, and can be shaped into a tree or shrub. These trees and shrubs are mainly found in wetter, well watered creek and canyon shed areas, but can be useful in your landscape for hedges or shade.


text:
The BHS reaches milestone in race against time to save bridleways
The British Horse Society (BHS) is urging people for even more help to ensure their local routes are not lost to the public forever, despite the charity reaching a landmark 1,500 applications to save bridleways and byways.
Time is running out to save many important and historic routes across England and Wales. Tragically, many public routes not formally recorded on the Definitive Map by 1st January 2026 will vanish forever, due to changes in the law introduced by The Countryside and Rights of Way Act 2000.
In the wide-scale project, the BHS secured generous funding from Sport England, which the BHS matched, to train and support volunteers and help cover their expenses in making applications. The equine charity are aiming to save even more routes and hit a target of 2,700 Definitive Map Modification Order (DMMO) applications before the end of 2022.
The BHS's 1500th application seeks to protect a local bridleway along the "Bread and Cheese Drove" in Haddenham, near Ely in Cambridgeshire. It was researched and submitted by a volunteer who found evidence of the route dating back to 1813. Without the crucial work of volunteers like this, this historic right of way could have been wiped off the map – along with many more across England and Wales. But there's still plenty more routes at risk.
Will Steel, BHS Project 2026 Manager said: "We are thrilled to be past the halfway point for our target, but we know there's still a lot of work to be done to reach our goal and ensure thousands of public rights of way are not lost. Protecting safe off-road routes is vital to ensure equestrians, cyclists and walkers can continue using these routes in the future. We are working with the Ramblers and Cycling UK to try and achieve this. With evidence from our horse incidents reporting app, Horse i, showing just how dangerous our roads are for horse riders, the need for safe off-road riding routes has never been more important."
A BHS Access volunteer recommends people to get involved and help save their local routes: "All the BHS staff and volunteers are so welcoming and supportive. I've enjoyed looking at old maps and learning the history of my local area to find and secure off-road routes for us all to enjoy long into the future. The applications aren't difficult, there's plenty of friendly people who can help, and you can do it from home whenever you like."
For lots of information on how to get started, gather evidence and submit an application, visit the 2026 Toolkit on the BHS website: https://www.bhs.org.uk/our-work/access/campaigns/2026/2026-toolkit
Fast, Free & Easy


text:
Q: Issues with .dt and daylight changes in Python I would like to sum across a month on a certain column. Since I have many months, I separate per month. It works fine before 31th of October 2021 and also when I make separate data set after 31th of October.
Currently my date column looks like this:
2021-10-31T01:59:52+02:00

and like this:
2021-10-31T02:00:02+01:00

My code looks like this:
df_merged['Time'] = pd.to_datetime(df_merged['Time'])

df_ny5=df_merged.groupby(df_merged['Time'].dt.strftime('%B'))['ApcUptime_Evap'].mean().sort_values()

And I get the following error when I compile the code on the complete data set:
Can only use .dt accessor with datetimelike values.

redpajama_set_name: RedPajamaStackExchange


When you play Jenga, you first construct the tiny wooden tower, then as the game progresses each player pulls out small rectangular blocks until the structure collapses. It is a game of entropy. For me, this simple process of minute devastation encapsulates what often happens when we travel. In the planning phase, we meticulously select, then piece together all the factors that will construct the memorable experience we hope for. Then the game begins. Mother Nature, the Travel Gods, bad decisions, bad people . . . each player takes a turn pulling blocks from our perfectly constructed tower. On the really good days, the structure perseveres, and things turn out as planned. On the really bad days, the entire thing comes down. One the very rare day, the scattered blocks come to rest in an entirely unanticipated yet delightful pattern that exceeds our expectations. This is when you get a Jenga kind of day.
It was one of those situations that the travel advisories warn about: four friends stranded on a desolate stretch of road in Quintana Roo, Mexico. I was there with my wife, Lisa, and our friends Mike and Louise. Scrub jungle boarded the road and, except for the dilapidated entrance to the Gran Cenote, extended unbroken as far as we could see in both directions. Storm clouds hung low in the sky. The first drops of rain were beginning to fall, and we appeared to be out of options.
This situation had not been one of the elements of our carefully constructed day.
And up until that moment, everything had been perfect. We had hired a taxi in Playa del Carmen and rode the fifty minutes south to our first stop for the day: The Gran Cenote. This cenote is not too distant from Tulum on a road that cuts through the jungle north-west to Chichen Itza. Ages ago, the ceiling of an underground river had collapsed and opened up a sinkhole in the jungle floor. The result was a splendid chaos of tangled vegetation, crumbling earth and impossibly clear water. In retrospect, that collapse was the first step of a predictable and oft mirrored progression: a calamitous event creates a natural wonder; the natural wonder becomes a sacred site in the local mythology; the sacred site transmutes into a tourist attraction.
After paying the cab driver, and cheerfully—unwisely—waving him off, we paid the small entrance fee and passed through the makeshift gate. To our right, there was an equally makeshift "restroom," a four by four space cut out from the jungle and enclosed within a slightly off-balance structure created by dusty stalks of bamboo. After shared looks of apprehension, we veered left and followed a short path to the cenote.
I have a few travelling friends who refuse to visit any location that has been branded with the moniker: "tourist attraction." I understand their philosophical aversion to such places; however, I believe that they have barred themselves from many rich experiences. A talent often required of travellers is the ability to see past the commercial trappings and appreciate what lies beneath. The Gran Cenote was such a place. Everything we had encountered up to that point had hinted that we should turn back, but when we saw the cenote itself, none of that mattered.
Imagine hiking along a jungle path and noticing a spot ahead where the trees seem to thin out and disappear. You wonder: Is there a clearing in the middle of this twisted foliage? Am I approaching the edge of a cliff? You pick your way forward until, quite suddenly, the floor of the jungle drops away. There is no clean edge, so you wisely step back a pace and grab hold of a branch for support. Opening before you is a roughly circular hole some sixty feet across and forty feet deep, a celebration of thriving anarchy—a riot of colour and life twisting above a tranquil pool of blue. You briefly envision an angry Mayan god smashing his gigantic fist into the jungle floor and then drinking from the subterranean river that he has uncovered.
We descended from the jungle floor down a rickety wooden stairway that creaked toward the surface of the underground river. Creepers hung spiralling to the water. Vagabond roots thrust into open air.
On the wooden platform at the bottom of the stairway, we dropped our packs, stripped down to bathing suits, and donned our snorkel gear. Then we distained the ladder at the edge of the platform and jumped into the water . . . then jumped right back out again. The afternoon heat smoldered, but the underground river squeezed lungs into a tight gasp, and rivulets dripped off us in icicles. Like the head of a frightened turtle, select parts of my anatomy jerked up into my body cavity with a faint swooshing sound.
Still, we hadn't come all this way to sit on the sidelines, and the crystal waters beckoned. Toe by toe, shin to knee . . . and higher . . . we eventually immersed ourselves.
The Gran Cenote is one of those places where imagination adds a significant element of the experience. On the surface (pun intentional), it is a relatively small pool of water enclosed by crumbling walls of dirt and stone. Cool enough (pun coincidental), but there is so much more to it. Entering the sinkhole is like hiking the badlands and stumbling upon the exposed talon of a T. Rex sticking out of the clay—what remains hidden challenges comprehension.
As if to illustrate this subterranean immensity, at one point during our swim, a group of scuba divers arrived at the cenote. The startling thing was that they came from below, not above. I had to look twice, and then look again. Either the world had turned upside down, or the arrow of time travelled in reverse. Was Alice entering or leaving the rabbit hole? Stranger and stranger still.
Another fascinating aspect of the Gran Cenote was that in the further reaches of the cave—where the sunlight began to falter—it was brighter below the surface of the water than it was above. The world did indeed seem inverted. My friend, Mike, who has a degree in physics, explained that we were experiencing a phenomenon called "total light reflection," which occurs when photons strike an air-water boundary and are reflected back down beneath the surface. The effect of this unbalanced light was otherworldly and deepened the mystic of the Gran Cenote.
When I snorkel, I love to dive down and see what is hiding below rock ledges and outcroppings of coral. (For those so inclined, you can find reef sharks this way.) In the cenote, I kicked underwater to go swimming around water-clad stalactites and small, pale fish that regarded me with bulbous eyes. Returning to the surface from one such dive, I noticed that there were pockets of air trapped up against the stone ceiling of the submerged river, not too distant from the open surface of the pool. Little oases of oxygen in a liquid desert. It occurred to me that I could explore within the cave by swimming from one isolated pocket of air to another—underwater leap-frogging, as it were.
After several deep breaths, I ducked below the surface and skimmed the submerged ceiling of rock. Within moments, I spied what I was looking for and kicked toward it. Underwater pockets of air offer a bit of a visual contradiction. Normally, when you rise to the surface of water, you are swimming up toward light and can see through to the sky above. Each of these pockets of air, however, was a small alcove of near darkness, the only illumination being surrendered by the water below. There was no looking through to the sky. It is difficult to describe the effect created by this inversion of light. I realized that a "pool" of air pressed against an underwater ceiling has a "surface" quite similar to a pool of water. My movement had disturbed its mercurial surface and small ripples rolled away at my approach.
Of course, I was holding my breath, so it just took longer to write this paragraph than it took for me to register the unusual visual phenomenon and quickly come up for air.
Stale air, to be more precise. My head barely fit within the pocket, and my snorkel was pushed down by the stone above. I gulped a few lung-fulls, laughed at the weird situation, and then I pushed below.
The technique worked well, and I was able to move further and further into the cave. With each successive stop, however, an increasing sense of apprehension took hold of me. It grew until a singular fear finally compelled me to turn around. I broke back into daylight with mingled sensations of exhilaration and relief.
Even the best of experiences run their course, and the four of us began looking past the cenote to the seaside ruins of Tulum. We climbed from the water, dried ourselves off and made our way back to the surface.
So far, the tower of wooden blocks stood securely and the elements of the day remained as we had constructed them. Soon, however, the Travel Gods would gleefully pluck loose a pivotal rectangle and our small tower would begin to sway upon the tabletop.


D.i.D. #8 did it again!
The program created a inspiring atmosphere for dance. Opening with a supportive duet danced between Anna Miller and Lateef Woods, we witnessed moment-to-moment negotiations, trust, strength and listening. These two embodied a spirit of generosity that extended to one another and to the surrounding audience.
Bethany Drohmann then literally shared a part of her creative process in "Duet Reprocessed," which was a duet that became a last minute solo cleverly reconstructed to involve the audience. Bethany talked us through the ways that her movement was inspired by the movements of her young toddler in order to generate various phrases of material that, through a game involving the audience, structured a spontaneous solo.
Sarah Ginther and Aubrianne Anderson danced an athletic duet that involved supportive lifting, dynamic floor work, and sharp gestures danced to "Let the Waters" ft. Israel Houghton by The Liturgists. Their dance made me consider "worship" coming from a whole new guttural place.
The program closed with "Yes.Yes.Yes.", (one of the best titles for a dance piece ever), presented by Button Will. Button flawlessly spoke lines from Andrea Gibson's poem "Say Yes," while dancing with such clarity, sensitivity, sensuality and fierceness that I was absolutely immersed in every moment with him, even though I was operating the video camera.
Again, the evening was an intimate one. I have to give a shout out to those community members who take time to regularly come to Dance in Dialogue and have participated as both presenters and audience members. The community that takes time out of all of their busy schedules to meet in the generous spirit of support for artists in the vulnerable process of making new work, sharing pieces of themselves, risking trying something new, never ceases to inspire me and affirms the value of Dance in Dialogue. Thank you!
This entry was posted in Uncategorized on April 1, 2016 by danceindialogue.
Dance in Dialogue is in its third year of programming offering contemporary performance artists from a variety of disciplines including dance, music, theater, video and mixed media to experiment with your work, expand perceptions of possibility in a low risk setting that offers intimate and direct communication between audiences and artists. Each artist is provided a 20 minute platform to present, ask questions and receive moderated feedback. Audience seating is in the round in the Friend's Meeting House, (2274 Onyx, Eugene, Oregon) a beautiful wood floor space with natural lighting.
Dance in Dialogue #8 will be on March 31st, 2016, 6 pm, Friend's Meeting House. A call for artists is now out, deadline February 19th. Proposals should include 1. Description of the work (concept, process, dancers, music, length, etc). 2. Description of you (brief bio). 3. Your interest in presenting in the Dance in Dialogue format? How will this format support your work? Your development as an artist? 4. video links of work in progress or previous work. Send submissions to Margo Van Ummersen vanumm@hotmail.com and Shannon Mockli smockli@uoregon.edu.
This entry was posted in Uncategorized on January 21, 2016 by danceindialogue.
Experience new dance and dance in the making by four current artists based in Eugene, Bonnie Simoa, Director of Dance at Lane Community College; Darion Smith, Director of Janusphere Dance Company and a current University of Oregon GTF in Dance; Emily Rizo, a recent Theatre Arts and Dance BA graduate from Sonoma State University; and Jana Meszaros, BA in Dance from the University of Oregon, local independent artist and DanceAbility teacher.
This entry was posted in Uncategorized on October 26, 2015 by danceindialogue.
Call for Artists DiD #7 is underway!!
Interested artists submit your materials by Friday, October 9th to share your work/work in progress/experiments at Dance in Dialogue #7, November 5th, 6 pm, Friend's Meeting House (2274 Onyx). Click on the link above for more information on how to submit your interest!
This entry was posted in Uncategorized on September 21, 2015 by danceindialogue.
After D.i.D. #6 more dance in Portland!
After Dance in Dialogue #6, Shannon Mockli will present "Breathing Under Water" at Studio 2@ zoomtopia (810 SE Belmont) in Portland, September 4th and 5th, 7:30 pm. Tickets $10 at the door.
"Breathing Under Water" is a collection of contemporary dance works and film by Eugene-based dance artists. Concert director and choreographer, Shannon Mockli (UO Associate Professor of Dance), has assembled poignant works that evoke a range of images relating to submergence and breath. The concert is also homage to the creative process as an act of finding one's breath through the vulnerability of revealing pieces of oneself.
Featured in "Breathing Under Water" is a dynamic cast of dancers in the Portland-Eugene area including Sarah Ebert, Margo Van Ummersen, Katie Scherman, Jessica Zoller, Kim Ames, and Avante Grady.
Culminating with the premier of a new work "Breathing Under Water," Shannon Mockli directly consummates life memories of the dancers with their immediate performance realities through questions about being submerged, fighting, surrendering, supporting, opening, and breathing.
This entry was posted in Uncategorized on August 20, 2015 by danceindialogue.
Dance in Dialogue #6 will be at the Friend's Meeting House (2274 Onyx), August 20th @ 6 pm. Get an inside look at the creative process and support artistic experimentation.
This entry was posted in Uncategorized on August 8, 2015 by danceindialogue.
Brief bio and video links that represent your work, in studio or in performance.
Email applications to Shannon Mockli, smockli@uoregon.edu, and Margo Van Ummersen, vanumm@hotmail.com, by Monday, July 13th.
This entry was posted in Uncategorized on June 16, 2015 by danceindialogue.
opportunity to learn about artists' unique approaches to making dances.
support future programing and development.
This entry was posted in Uncategorized on March 12, 2015 by danceindialogue.
Email applications to Shannon Mockli, smockli@uoregon.edu, and Margo Van Ummersen, vanumm@hotmail.com, by Monday, March 2nd.
This entry was posted in Uncategorized on February 18, 2015 by danceindialogue.


Rhinestone letters "KING" show your highest position in the Mardi Gras royal hierarchy.
This wand is perfect for queens, princesses, and fairy godmothers.
The end of the silver tone scepter is heart shaped with rhinestones.


text:
Top Ten New Fish Species From 2016
by Joe Rowlett | Dec 12, 2016 | Fish, Science
2016 is just about over, and, looking back, it's clear that the taxonomists of the world have been quite busy. New species of coral reef fish seemed to appear on a weekly basis. Gobies, in particular, had a banner year, with an incredible fifteen...
Finally, the Orange Margin Butterflyfish Has Been Named
by Joe Rowlett | Sep 6, 2016 | Fish, Science
It's been a long and arduous journey to get Prognathodes basabei scientifically described. This beautiful fish was first reported in 1994 based on observations from research submersibles in...
Undescribed Species Of Wrasse, Anthias & Butterflyfish Collected In Hawaii
by Joe Rowlett | Jun 16, 2016 | Fish
The coral reefs of Hawaii are some of the most thoroughly explored and surveyed in the world, which makes it all the more surprising that a recent trip to Kure Atoll, at the northern tip of the archipelago, revealed the presence of three undescribed...
A Quick Guide to the Identification and Evolution of Prognathodes Butterflyfishes
by Joe Rowlett | May 11, 2016 | Fish
The distinctive deepwater butterflyfishes of the genus Prognathodes have been in the news recently with the exciting rediscovery of the enigmatic P. guyotensis, but, in general, this is one group that doesn't get much attention from the average...


It's official. Nothing good is happening in movie theaters anywhere. I know that this time of year is usually a slump time in general but that doesn't mean we have to just put out whatever garbage Hollywood can come up with just to keep those ticket sales rollin'. We have, for your pleasure this weekend, two "meh" movies hitting screens: "Oz the Great and Powerful" and "Dead Man Down". It seems to be another week to pay where, if you want to go to theaters, you'll simply have to pay your $7.50 and shut off your brain for a while! So let's get crackin' on those hot details!
"Oz the Great and Powerful" seems about the same amount of standard as "Jack the Giant Slayer" to me. I know this movie will probably do pretty well in the box office so I honestly can't criticize them from a business standpoint here, and I won't, but let's start with common empathy or faith in the human race. Does this movie not look like Tim Burton's uninspired sequel to Alice in Wonderland? An atmosphere of CG landscapes that are tailor made for 3D using by a director that I know can figure out something better to do! Whatever...on the plus side I will say that doing this movie probably made it possible for Raimi to produce the new "Evil Dead" remake hitting us next month. The movie has a 64% approval rating on Rotten Tomatoes right now, which gives me hope in some ways. Honestly I'm throwing out a skip on this guy but if you need to see it for nostalgic reasons or just plain straight-up boredom, then go for it. I don't expect much more than some flash CG sequences, but it could end up being an acceptable look into the world of Oz.
On the box office side of things, "Oz the Great and Powerful" will be the big winner, the only question left is by how much. I've seen predictions and estimates everywhere from $40MM to $90MM. My guess is that it lands somewhere in the middle though, right around $70MM. That feels high, but maybe there are more people interested in this film than I believe. Also, it's not like there's much other competition to get in its way. Regardless, it should grab the highest opening weekend so far for 2013. he other new release this weekend, "Dead Man Down", probably won't find a huge audience, and I honestly can't see it surpassing even the $10MM mark. And the only other film that will make more than $10MM this weekend will be "Jack the Giant Slayer", which made $27MM last weekend in its debut. It was met with poor reviews and made even less than many expected, so it was due for a large drop this weekend as it was. But then you tack on that "Oz the Great and Powerful" is so similar; I'm not sure there will be many people out there opting for Jack over Oz.
Soon I promise there will be something good to actually report in the movie world. We are going to be breaking into the summer season in just a month or two here so just sit tight and try to hold out until then. As always, if you see any of the films above, let me know about it on the comment section below! Have fun and be safe moviegoers!


text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<title>Table (POI API Documentation)</title>
<link rel="stylesheet" type="text/css" href="../../../../../stylesheet.css" title="Style">

JavaScript is disabled on your browser.

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org.apache.poi.ss.usermodel

Interface Table

All Known Implementing Classes:

XSSFTable

public interface Table

XSSF Only!
 High level abstraction of table in a workbook.

Field Summary

Fields

Modifier and Type
Field and Description

static java.util.regex.Pattern
isStructuredReference

Regular expression matching a Structured Reference (Table syntax) for XSSF table expressions.

Method Summary

Methods

Modifier and Type
Method and Description

int
findColumnIndex(java.lang.String columnHeader)

Returns the index of a given named column in the table (names are case insensitive in XSSF).

int
getEndColIndex()

Get the bottom-right column index on the sheet

int
getEndRowIndex()

Get the bottom-right row index

java.lang.String
getName()

Get the name of the table.

java.lang.String
getSheetName()

Returns the sheet name that the table belongs to.

int
getStartColIndex()

Get the top-left column index relative to the sheet

int
getStartRowIndex()

Get the top-left row index on the sheet

boolean
isHasTotalsRow()

Returns true iff the table has a 'Totals' row

Field Detail

isStructuredReference

static final java.util.regex.Pattern isStructuredReference

Regular expression matching a Structured Reference (Table syntax) for XSSF table expressions.
 Public for unit tests

See Also:

         Excel Structured Reference Syntax

Method Detail

getStartColIndex

int getStartColIndex()

Get the top-left column index relative to the sheet

Returns:

table start column index on sheet

getStartRowIndex

int getStartRowIndex()

Get the top-left row index on the sheet

Returns:

table start row index on sheet

getEndColIndex

int getEndColIndex()

Get the bottom-right column index on the sheet

Returns:

table end column index on sheet

getEndRowIndex

int getEndRowIndex()

Get the bottom-right row index

Returns:

table end row index on sheet

getName

java.lang.String getName()

Get the name of the table.

Returns:

table name

findColumnIndex

int findColumnIndex(java.lang.String columnHeader)

Returns the index of a given named column in the table (names are case insensitive in XSSF).
 Note this list is lazily loaded and cached for performance.
 Changes to the underlying table structure are not reflected in later calls
 unless XSSFTable.updateHeaders() is called to reset the cache.

Parameters:

columnHeader - the column header name to get the table column index of

Returns:

column index corresponding to columnHeader

getSheetName

java.lang.String getSheetName()

Returns the sheet name that the table belongs to.

isHasTotalsRow

boolean isHasTotalsRow()

Returns true iff the table has a 'Totals' row

Overview

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                Copyright 2016 The Apache Software Foundation or
        its licensors, as applicable.


WE are very pleased with this console, the size was perfect, color melded into our living room furniture look.
I was a little uneasy about the color of this unit fitting in with my other furniture, but there was no need to worry. It fit in beautifully. It is a rich looking color, which seems to blend well with other woods. The piece itself is a quality piece of furniture with adjustable legs, so it will be level where ever you put it.
Beautiful piece of furniture ! Very Happy ! Thank you to Sales Person at Johnson City Store, Helped big time with finding piece I liked ! Great Job !
Very nice and perfectly fit for my tv. Product is very reliable. I would recommended to others.
The TV stand looked just like the one in the showroom. The color looks better in my house lighting. I am very pleased with the piece. Packaging and product protection were above what we expected. Handle placement protection was innovative. Assemble was simple. The product in general seems to be of very good quality.
This console fits perfectly in the same and looks terrific! The tv fits well and altogether we are more than pleased with our purchase.
Very well made. Color seems lighter than one in store.
are there any end tables and coffee table in this collection?
BEST ANSWER: There are only consoles and towers in the Granthom collection.


text:
Q: click event fired more than once ( supposed to be once) this is my first post, here I wanted to create a chrome extension, when it is pressed, it will show links which can be pressed, links retrieved using AJAX. It worked so far, the only problem is when it is clicked on any link, sometimes it appeared twice or even thrice. can anyone give an explanation and answer to this problem?
Thank you!
var links = [];
links.push("http://www.tenmanga.com/book/rss/id-16896.xml");
links.push("http://mangafox.me/rss/fairy_tail.xml");
links.push("http://feeds.feedburner.com/9gag?format=xml");

Function Start()
function start(){
    for (var i in links)
        getXML(links[i]);
    $(document).ready(function(){
    });

}

Function getXML
function getXML(url){
    var test = $.ajax({
        type: "GET",
        url: url,
        dataType: "xml",
        success: function(xml){
            parse(xml);
bind();
        }
    });
    return test;
}

function bind(){
    $("a").click(function(e){
        chrome.tabs.create({url:$(this).attr("href")});
    });
}
function parse(xml){
    //$("#content").append();
    var title = $(xml).find('title').first().text();
    var createClickHandler = function(arg){
        return function(){
            open_item(arg);
        };
    }
    $("#content").append(title+"
");
    $(xml).find('item').each(function(){
        var temp = document.createElement("a");
        var title = this.childNodes[1].textContent;
        var link = this.childNodes[3].textContent;
        temp.innerHTML = title;
        temp.setAttribute("href",link);
        $("#content").append(temp);
        $("#content").append("
");
    });
    $("#content").append("
");
}

START HERE!
var start = start();

A: The only reason to invoke click event more than once when clicked on an elements is, more than one event handler is registered over that. Each time you call bind what u have done is binding to event to 'a' so i guess for the first link it event is fired once for the seconds twice and for the third thrice.May be instead of using just $('a') that attributes to all the 'a' element in the page you may dynamically make 'a' with separate ids. That must end the weird behavior.

A: Invoke e.preventDefault(); where e is event in your click callback so that event won't bubble up and won't trigger anything else.
Also bind() should not be called on each success after ajax returned.

A: instead of binding on each link, do the following once:
$(document).on('click','a'
    function(e){
        chrome.tabs.create({url:$(this).attr("href")});
        return false;
    }
);

if you have no other anchors on link


text:
Q: RecyclerView setRecycledPool and recycleChildrenOnDetach for RecyclerViews in ViewPager2, and inner RecyclerViews recycleChildrenOnDetach has documentation as

Set whether LayoutManager will recycle its children when it is
detached from RecyclerView. If you are using a
RecyclerView.RecycledViewPool, it might be a good idea to set this
flag to true so that views will be available to other RecyclerViews
immediately. Note that, setting this flag will result in a performance
drop if RecyclerView is restored.

If this flag is not set scraps in RecycledViewPool be available when onViewRecycled instead of
onViewDetachedFromWindow, right?
What does it mean by performance drop if RecyclerView is restored?
I have 3 fragments as pages of ViewPager2 inside a fragment. Both 3 fragments have a list of same type of layout for RecyclerView rows each getting data from different resources when user swipes to that page, in this situation does it help to share pool and setting recycleChildrenOnDetach to true?
Also in another situation where a vertical RecyclerView hosting multiple horizontal recyclerViews with same layout resource like Play Store app, does it have any impact in this situaton?


text:
PBA and UST great Danny Florencio passes away at the age of 70
by Gerry Ramos
UST and PBA star Danny Florencio, 70.
DANNY Florencio, one of the early high-flyers in Philippine basketball, passed away on Saturday in San Francisco (Sunday, Manila time) after suffering a stroke.
He was 70.
Florencio was known for his acrobatic shots that paved way for exciting players such as Samboy Lim and Bong Alvarez, earning the tag as the original 'Skywalker' in the PBA.
Born in Quiapo, Manila, Florencio rose to fame as the high-scoring machine of University of Sto. Tomas, a reputation he would take during his stints with the national team and both in the old MICAA and Asia's first ever play-for-pay league.
He played for U-tex, 7-Up, Toyota, and Galerie Dominique in the PBA, where he established the record as the first PBA player to hit the 60-point barrier after tallying 64 points for 7-Up in a losing cause against Toyota, 136-121, in 1977.
The 64-point output still ranks among the best all-time, one-game individual record at no. 4
During that same season, "Daredevil Danny' averaged 32.3 points in 39 games for the Uncolas, which still stands as the highest single-season average by a local.
Florencio went on and finished with a career average of 16.9 points, among the PBA's top 20 until today. He was the ninth player to reach the 5,000-point plateau and was scoring champion twice in 1977 and 1978.
He was later named among the PBA's 25 Greatest Players and inducted in the league's Hall of Fame.
There are those who will argue though, that Florencio's best days were spent during his amateur years, when he suited up for UST and battled Robert Jaworski and the University of the East Warriors in a memorable UAAP Finals.
He suited up for YCO in the defunct MICAA and then formed a shooting tandem as the cornerstone of Crispa.
But he was best remembered for delivering in the clutch as the Philippines beat South Korea for the 1967 FIBA Asia Championship in Seoul. He also played in the national team that settled for the silver medal in the same tournament four years later in Tokyo, Japan.
Florencio twice played in the Olympics during the 1968 Mexico Games and the 1972 edition in Munich, which turned out to be the last time the country sent a basketball team to the quadrennial meet.
Ironically, Florencio returned to the country a few years back and visited former national teammate and fellow PBA pioneer Joaquin 'Jake' Rojas in Cebu. Rojas, 79, died just last month.
Now the two are playing together in the great beyond.
toyota ,
danny florencio ,
pba high flyer ,
u-tex ,


text:
Home Articles Environment
Study explores effect of climate change on economic growth
California [US], August 13 (ANI): Research from the University of California, examines the fundamental issue that underlies the costs and benefits of climate change policies. Their finding revisits the impact of climate change and rising global temperatures on GDP through an empirical methodology.
The study was published by IOP Publishing in the journal Environmental Research Letters. It found that economies are sensitive to persistent temperature shocks over at least a 10-year time frame and impact economic growth in about 22 per cent of the countries analyzed.
"Our results suggest that many countries are likely experiencing persistent temperature effects," said lead author Bernardo Bastien-Olvera, a PhD candidate at UC Davis. "This contrasts with models that calculate metrics like the social cost of carbon, which mostly assume temporary temperature impacts on GDP. Our research adds to the evidence suggesting that impacts are far more uncertain and potentially larger than previously thought."
Persistent and cumulative
Previous research examined the question by estimating the delayed effect of temperature on GDP in subsequent years, but the results were inconclusive. With this study, UC Davis scientists and co-authors from the European Institute on Economics and the Environment in Italy used a novel method to isolate the persistent temperature effects on the economy by analyzing lower modes of oscillation of the climate system.
For example, El Nino Southern Oscillation, is a 3 to 7-year temperature fluctuation in the Pacific Ocean that affects temperature and rainfall in many parts of the world.
"By looking at the GDP effects of these types of lower-frequency oscillations, we're able to distinguish whether countries are experiencing temporary or persistent and cumulative effects," Bastien-Olvera said.
The team used a mathematical procedure called filtering to remove higher frequency yearly changes in temperature.
Enormous task
The researchers note that characterizing temperature impacts on the economy is an enormous task not likely to be answered by a single research group.
"Data availability and the current magnitude of climate impacts limit what can be done globally at the country level," said co-author Frances Moore, an assistant professor of environmental science and policy and UC Davis and the study's principal investigator, "However, our research constitutes a new piece of evidence in this puzzle and provides a novel tool to answer this still unresolved question." (ANI)
Bastien - Olvera
Bernardo Bastien - Olvera
Frances Moore
IOP Publishing in journal Environmental Research Letters


World's Oldest Biblical Scroll Discovered?
This past Wednesday evening (21 September, 2016) the BBC reported that a scroll discovered in the ancient synagogue at Ein Gedi "reveals the earliest text ever found of the Old Testament." Is this startling claim true?
This past Wednesday evening (21 September, 2016) while listening to the BBC news I was startled to hear a report announcing that a scroll discovered in the ancient synagogue at Ein Gedi near the Dead Sea "reveals the earliest text ever found of the Old Testament." This astounding claim was followed up by the bewildering statement that the scroll, dates "back to at least the third or fourth century." The BBC report did not specify whether the third or fourth century B.C.E. or C.E. was intended, a distinction of crucial importance in the present context.
Interior of the Byzantine period synagogue at Ein Gedi near the Dead Sea. Image courtesy of Wikimedia Commons.
As most readers of JP are aware, biblical scrolls from the first century B.C.E. were among the Dead Sea Scrolls discovered in the caves at Qumran. One of the most spectacular of these finds was the Isaiah Scroll (1QIsaa), which contains nearly the entire text of Isaiah. If the BBC is correct that the scroll from the Ein Gedi synagogue is the "earliest text ever found of the Old Testament," then this newly deciphered scroll would have to be older than the biblical scrolls from Qumran.
Michael Segal, Emanuel Tov, William Brent Seales, Clifford Seth Parker, Pnina Shor and Yosef Porath, with an Appendix by Ada Yardeni, "An Early Leviticus Scroll from En-Gedi: Preliminary Publication," Textus 26 (2016): 1-20.
William Brent Seales, Clifford Seth Parker, Michael Segal, Emanuel Tov, Pnina Shor and Yosef Porath, "From Damage to Discovery Via Virtual Unwrapping: Reading the Scroll from En-Gedi," Science Advances 2.9 (2016).
The above publications explain that the scroll, which was discovered in 1970, was severely burned in the fire that destroyed the synagogue circa 600 C.E. The charred remains of the scroll were so fragile that they could not be unrolled, but a new digital imaging process has allowed experts to "virtually unwrap" the scroll. This digital process has revealed that the scroll contains two columns of the beginning of the book of Leviticus on a single piece of rolled parchment. The first column contains Lev. 1:1-9 and the second column contains Lev. 2:1-11. It is clear that the scroll began with the book of Leviticus, but due to its damaged state it is impossible to determine what more the scroll may have contained beyond the portion that has been preserved. It may have included the entire book of Leviticus, and perhaps other books as well, but it was not a Torah scroll containing the five books of Moses.
Floor mosaic from the Ein Gedi synagogue. Image courtesy of Wikimedia Commons.
In order to determine the age of the Ein Gedi Leviticus scroll scholars applied two methods: Carbon 14 dating and paleographical analysis (i.e., judging the date on the basis of how the letters were written). The Carbon 14 analysis indicates that a third or fourth century C.E. date for the scroll's composition is the most probable, with a lesser probability of a second century C.E. date. Paleographical analysis, on the other hand, suggests that the scroll was written in the second half of the first century C.E. or possibly in the early part of the second century C.E.
The synagogue in which the scroll was discovered was built in the third to fourth century C.E. and destroyed, as we have mentioned, around 600 C.E. But it is not unreasonable to suppose that the scroll was older than the synagogue in which it was housed.
Charred remains of a scroll discovered in the synagogue at Ein Gedi, which was destroyed ca. 600 C.E. Image courtesy of Wikimedia Commons.
Two attributes of the Ein Gedi Leviticus scroll are unique: First, it is the earliest biblical scroll to have been discovered in the אָרוֹן הֵקּוֹדֶשׁ ('ārōn haqōdesh, "holy ark") of an ancient synagogue. Second, the text of this Torah scroll conforms in every respect to the Masoretic text, making this scroll an important witness to the proto-Masoretic text tradition.
The advances in digital imaging technology that allowed for the charred scroll remains to be read without unrolling hold out the promise of revealing the contents of other ancient documents that are too fragile to be unrolled. We eagerly look forward to what other ancient texts this new technology will bring to light.


text:
Принц Алојз од Лихтенштајна (нем. Aloys Gonzaga Maria Adolf) је био син принца Алфреда од Лихтенштајна и принцезе Хенријете од Лихтенштајна, ћерке Алојза II од Лихтенштајна. Оженио се 20. априла 1903, у Бечу са надвојвоткињом Елизабетом Амалијом од Аустрије, која му је родила осморо деце а међу њима и кнез Франц Јозеф II. Преминуо је 1955 у Вадуцу.

Спољашње везе

 -{Austria-Forum: Liechtenstein, Aloys Prinz}-

Рођени 1869.
Умрли 1955.
Кнежевска породица Лихтенштајн


Customize your Great Strides page with links, images, and the PPP video. It's easy and fun!
Fund raising for your walk is most effective when you send a personal letter. Customize yours and your fund raising is only a few emails away.
They look great in black and white or color! Fill in your Great Strides homepage information and hang them in offices, schools, or local businesses.
Download and use them for your Great Strides page, emails, blog or Facebook posts, etc. Please let us know if you would like other kinds of photos!
Share these on your blog, Facebook posts, emails, etc. Please let us know if you would like other kinds of videos!
A flyer to give to friends and family to invite them to Great Strides.
The cystic fibrosis awareness ribbon is purple. Make yourself a nifty purple ribbon and wear it. When people ask you what it's for, you can tell them about your walk!


Sponsorship administrators create online identities in MCommunity using the MCommunity Sponsor System for people within their unit who are eligible for sponsorship. This process provides uniqnames and access to computing services for sponsored individuals.
This document explains the responsibilities of sponsorship administrators, lists the role requirements and provides instructions for submitting an online request to become a sponsorship administrator.
Create identities for sponsored individuals in MCommunity.
Create uniqnames and provide access to U-M computing services for the people they sponsor.
Sponsor individuals who already have profiles in MCommunity.
Reset passwords for certain sponsored individuals in the unit(s) for which they are authorized to perform sponsorship administration. This password resetting capability only applies to sponsored individuals with temporary uniqnames. People with regular uniqnames can have their passwords reset by the ITS Service Center over the phone.
You are to use the MCommunity Sponsor System only for its intended purpose-the creation and management of digital identities for sponsored individuals. You may use the system and the data within it only to perform your U-M-related duties. You may not share the data with anyone else unless he/she has U-M-employment related permissions.
Protect against unauthorized access: Because your uniqname and password can be used to gain access to the MCommunity system, you must be especially careful about your password choice. Choose a secure password that is not easily guessed. See Choosing and Changing a Safe and Secure UMICH Password for details. Additionally, be sure to log out of the Sponsor System whenever you leave your computer so that others cannot gain access to it.
Provide accurate identity information: When you create an MCommunity sponsored identity, you must ensure that the information you enter represents a real person who is authorized by your department to become a sponsored member of the university community. Be aware that an automated auditing system will log all ID creation in MCommunity.
Tip: If you require a test id, do not create a test ID using fake data in the Sponsor System. If you need a test ID, please request it from the ITS Service Center. ITS staff will work with you to ensure you receive a test ID that provides the access you need in a way that protects the integrity of sensitive data.
Protect people's privacy by keeping their personal information secret: The Sponsor System allows you to search administrative data about members of the U-M community so that you can avoid creating duplicates of identities that are already in the system. This information is made available to you only professionally; it must be protected. You are expected to follow all relevant policies concerning access to administrative data.
Maintain the sponsored identities that you create: You must set appropriate expiration dates for matriculating sponsored individuals. (The Sponsor System will provide a default expiration date during the identity creation process that you can modify as necessary, up to a maximum of one year). Sponsorship administrators are also responsible for renewing sponsored identities that his/her unit or department wishes to have extended.
To become a sponsorship administrator, you will need to be authorized by your department's sponsoring authority. This authorization is carried out as part of the online request process.
Sponsorship administrators cannot also be sponsoring authorities. Sponsorship administration and authorization are separate activities that must be done by different people.
Complete the e-learning course DCE101 Access and Compliance: Handling Sensitive Institutional Data at U-M available in Wolverine Access. Look under Faculty & Staff for the University Business section. Here, look for My LINC to register for and complete the online course.
Read and make sure that you understand and agree to the Institutional Data Access and Compliance Agreement. This can be done at the end of the e-learning course. A note at the top of the agreement will let you know if you need to accept the agreement to keep your record current.
Note: You will need two-factor authentication to login to OARS.
Navigate to the OARS home page. If necessary, log in with your uniqname, UMICH (Level-1)password, and two-factor authentication.
From the list of Sponsor System roles, select MC Sponsor Administrator (MC).