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     with the License.  You may obtain a copy of the License at

        http://www.apache.org/licenses/LICENSE-2.0

     Unless required by applicable law or agreed to in writing, software
     distributed under the License is distributed on an "AS IS" BASIS,
     WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or
     implied.  See the License for the specific language governing
     permissions and limitations under the License.

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redpajama_set_name: RedPajamaGithub


text:
Q: Xpath-time based functions with working example Hi i am working on  this example ,as per syntax ok but i didn't get any working solution.
Can some give me  time based operations working example like current date,Subtraction of current dates using xpath.

A: XPath 1.0 or 2.0?
Read anything on XPath 2.0 and it's full of examples of date and time arithmetic. For example you can do current-date() - xs:date('2014-01-01') and the result will be xs:dayTimeDuration('P20D').
By contrast if you want to do anything in XPath 1.0 you're largely out of luck because there's no support for this.

redpajama_set_name: RedPajamaStackExchange


text:
For Tampa progressives, Pat Kemp investiture a bright spot amid the Trumpening
By Kate Bradshaw on Tue, Nov 22, 2016 at 2:54 pm
For Tampa Bay's Democratic voters, there hasn't been a whole lot to smile about since Nov. 8.
But the election of lawyer and longtime progressive activist Pat Kemp to the Hillsborough County Commission is one.
Kemp was sworn in Tuesday, as were two other incumbents who easily held on to their seats.
""I'm just deeply faithful for all the faith, the love and encouragement given to me by so many friends and supporters across Hillsborough County," she said after being sworn in.
Kemp, who narrowly lost a race in 2014 against Republican incumbent Al Higginbotham — the closeness by which she lost itself being a feat — was surrounded by progressives who had served on the commission before her, including now-Congresswoman Kathy Castor and former Commissioner Ed Turanchik.
She pledged that she would aim to grow the economy and promote environmental sustainability by encouraging the county to more enthusiastically embrace opportunities for creating jobs in fields like renewable energy.
"My top priority will be promoting good-paying, 21st-century jobs in Hillsborough County," she said.
She added that she hopes she can help the county embark on a transit overhaul that will help it move away from building more roads rather than building alternative modes of transportation to move people around more efficiently.
Kemp succeeds Commissioner Kevin Beckner, who has represented the countywide seat since 2008 and termed out this year.
She faced newcomer Tim Schock, a Republican in the race for the open seat, but it was the four-way Democratic primary in August that was the real challenge.
As Beckner had, Kemp is likely to be a strong progressive voice on the dais — something that would otherwise be largely lacking.
A possible damper on that, however, could be her colleagues' voting Commissioner Stacy White, who represents eastern Hillsborough on the board, to serve as chair of the commission. That means he'll be able to steer the conversations that happen among board members and, to some degree, set the agenda.
While White has been staunchly against any measure that could potentially grow government, raise taxes or cost even negligible amounts of money (he even voted against the county's new animal abuser registry), he has been shown to be in favor of environmental protection — even opposing the Florida bear hunt.
Kevin Beckner,
Pat Kemp
Kate Bradshaw
Read More about Kate Bradshaw
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redpajama_set_name: RedPajamaCommonCrawl


Chiefs coach Andy Reid says he expects quarterback Alex Smith to remain in Kansas City beyond this season.
Echoing comments from Chiefs G.M. John Dorsey, Reid said on NFL AM that the Chiefs feel confident that Smith will agree to terms before next offseason, when he's scheduled to hit free agency.
Reid said Smith showed during the 2013 season that he was improving rapidly once he became comfortable with the offense and the Chiefs' receivers.
Although he's entering his 10th NFL season, Smith just turned 30 this month. There's no reason he can't be running Reid's offense for several more years.
That'll be a bummer if things don't work out between Smith and the Chiefs. I'll be harder for the Broncos to routinely embarrass the Chiefs if they upgrade from street vet to just a guy at the NFL's most important position.
Lets see what happens in year two. It's best for all parties involved.
Get ready to pay Smith in the neighborhood of $100 million. If Joe Flacco is worth as much as the Ravens paid him then Smith will command a pretty penny if you let him hit free agency. There are about 16 teams out there that would see Smith as a possible savior, including Denver with their crippled 94 year old hall of Fame Quarterback.
Alex Smith has been nothing but professional.
I wish the Eagles had gotten him post McNabb instead of Vick and Kolb. We would have been a much better team, and Andy would probably still be around.
I just hope Smith is happy where he is, and puts up some great stats. He seems like a good dude.
I hope "Something will get done" doesn't mean overpaying yet another mediocre QB. The OL is so bad this year, that he is going to be running for his life on most plays.
Maybe the Chiefs should wait until after the season to pay him to see if he can make it through it w/out injury with all of the high OL draft busts they draft.
I can't believe for a minute they won't reach a deal. Smith is NOT an upper echelon quarterback, and I don't think there's a legitimate contender in the league that would swap him for their QB – even the teams with the inconsistent QBs like Cincy and Baltimore.
As a Niner fan I must say he was nothing but a consummate professional during his tenure here. NEVER had any off field distractions and despite for years not having the coaching necessary to hone his skills was always trying to improve. Glad he found a team/home willing to embrace him and watch him thrive.
KC lost to 3 teams last year. But should've went 3-3 instead of 0-6. Denver soundly beat them twice, SD beat their starters at KC but won on a missed 40 yard field goal against KC's JV in SD. The reg season colts game was a warm up because it was but decided that's who they'd play in the playoffs, and KC's D choked in the playoffs after being up 28.
I expect another wild card, anything short of that would be a failed season.
Smith got better each game, but the team lost games more frequently as the season went on.
The rapid improvement choked a 28 points lead in the 3rd quarter.
Smith's success was largely dependent on Jamaal Charles' talent. If Smith doesn't have a great tailback, he'll be toast.
What a house of cards, a true team full of failures.
The Chiefs never pay medicore QB's. I mean Steve Bono, Matt Cassel, Elvis Grbac and Dave Krieg were amazing right?
Oregon's Marcus Mariota > Alex Smith. Andy Reid is already licking his chops for the 2015 Draft.
smart move is a 3 year deal for KC, or a 5 year that can become 3 years.
but if you give him cutler money you are insane. insane.
I just hope that Smith gets a big ol' fat signing bonus. That way KC has to eat it when they're forced to release him in 2 years for being awful.
The Chiefs were 0-6, including playoffs, in 2013. That is not a coincidence.
Dear Jim Harbaugh, why did you send away Alex Smith? We want him back.
To all the knuckleheads talking about how the Chiefs were embarassed in their losses last year, the average margin in those games was 6.6 points or to make it easy for you less than one touchdown + extra point. In other words, they were in every game. the only embarassing losses came to Indy 23-7 in KC and of course the defensive meltdown in Indy that was still only a one point victory for the Colts.
Best QB the Chiefs have had since Montana. Get it done.


Are you thinking about redesigning your home to make room for a parent or grandparent who is moving in? Here's how to design a safer and less stressful multigenerational home.
With the rising cost of assisted living facilities, many senior citizens are choosing to stay in their homes longer. The trend to "age in place" is growing in popularity along with the trend for elderly parents or grandparents to move in with their children and grandchildren.
When two generations share a home they can usually live cheaper collectively. Whether it's contributing rent or serving as cost-free daycare, move-in parents can help ease the family's cost of living while avoiding the isolation and higher expenses of living alone.
The three major factors to consider when remodeling a senior addition to the family are safety, comfort, and costs. By sitting down with an experienced home remodeler you can find creative and affordable solutions.
Design for safety. As we grow older, we tend to lose flexibility and balance. Senior citizens are more likely to have fall related accidents and suffer significant injury from falls. Therefore, we want to look for ways to reduce the likelihood and severity accidents.
Talk to your builder about installing slip resistant flooring. Remove high-gloss flooring tiles and cover polished floors with carpeting, where possible. While throw rugs are nice decorative touch, they can cause slips and falls. Wall-to-wall carpeting with thick padding will reduce the risk and impact of falling.
Staircases are a particularly dangerous place for senior citizens. Consolidate living space to a single level to make it safer and less strenuous. When you can't get away with single-level living, make sure stairwells are well lit and free from any tripping hazards. Securely anchor handrails in hallways. Consider installing a stair lift.
Remodel bathrooms for safety, as well as comfort. Replace bathtubs with walk-in stall showers. Have professionally installed safety grips installed by toilets and inside the shower. Your remodeler should be able to recommend safety grips that are both effective and aesthetically pleasing.
Design for Comfort. Make sure your elderly loved one has a comfortable living environment, and not just a safe one. Many families are choosing to remodel their homes with two separate living areas. A home designed with two separate living areas, but not as a legal two-family rental is sometimes referred to as a "secondary suite" or a "mother-in-law house." In the Northeast, this type of layout called a mother-daughter house.
Consult with your local building code so that you don't inadvertently modify your house into a two family home without the proper permits. Two separate entrances allow the senior to have more privacy and independence without feeling as if they are living on top of the family.
It's important to redesign your home with reselling it in mind. Poorly modified homes often require lots of renovation. Follow proper interior designing principles when adding safety features or your senior living area might end up looking like a hospital ward.
Separate thermostats will keep everybody happy. Seniors often feel the need for more heat in the winter and less air-conditioning in the summer than younger people do.
With a separate entrance and living space, seniors can have more control over the look and feel of their homes. The buffer between living spaces will let you enjoy your sleek and modern design without clashing with that tacky recliner Grandpa doesn't want to give up.
Countertops should be higher than normal to reduce stooping and bending while shelves should be lower to avoid overreaching.
Make sure you have good lighting. Incandescent light fixtures are better than fluorescent bulbs because they produce less glare. Light switches should be illuminated so they can be found in the dark. Plug nightlights in hallways or mount motion sensitive light switches.
For additional safety and privacy, install an intercom. An intercom will allow for easy communication without intruding into each others living areas. Additionally, get a medical alarm or senior alert system so that an elderly relative can summon help when no one else is home.
Home Design Costs. Home remodeling is not cheap, but there are several ways to finance. A reverse mortgage can help pay for renovations, but only if the senior continues to live in the mortgage home as a primary residence. Before taking out a reverse mortgage it's important to consult with a qualified, unbiased financial and legal adviser and not just a mortgage salesperson.
Thanks to ElderKind.com for these tips on safer living spaces for senior citizens.


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Quality Vacuums proudly serves all of Northern Virginia, offering high quality vacuum sales, vacuum repair, and vacuum service. For fast and accurate repair of your broken cleaner for both residential and commercial use, come to one of our locations today. If you need a second machine for another floor so you do not have to lug it upstairs, you may want to consider a used model. We sell both new and USED machines!


GLADIATOR'S MERCHANDISE IS AVAILIBLE FOR PURCHASE AT ALL HOME GAMES AT THE INFINITE ENERGY ARENA, ONLINE, OR BY VISITING THE GLADIATORS ADMINISTRATIVE OFFICES TO PURCHASE GLADIATOR MERCHANDISE IN PERSON.
IF YOU PLAN TO STOP IN THE OFFICE TO MAKE A PURCHASE, PLEASE CALL AHEAD SO THAT WE MAY HAVE YOUR ITEMS HERE AND EXPEDITE THE PROCESS FOR YOU - 770-497-5118.
The Gladiators administrative offices are located in the lobby of the Infinite Energy Theater. To visit the Gladiators offices in person, enter the Infinite Energy Center complex from Satellite Boulevard and park in the first lot on the left as close to the building as possible. Enter the building through the door with the Gladiators logo. Once inside, follow to your left, pass the box office, and you'll find the office door just past the elevator.
WE REGRET THAT AT THIS TIME WE ARE NOT ABLE TO SHIP OVERSEAS.


text:
Fondato a Duisburg nel 1964, il Lehmbruck-Museum (oggi sotto il nome: Stiftung Wilhelm Lehmbruck Museum – Zentrum Internationale Skulptur) viene dal Kunstmuseum del 1929.
Il museo attuale prende il nome da Wilhelm Lehmbruck († 1919), nato nel 1881 a Duisburg.

L'architettura del museo fu realizzata da Manfred Lehmbruck (1913–1992) figlio dell'artista.

Collezione
La collezione del museo è rappresentata principalmente dalle opere dello scultore Wilhelm Lehmbrucks e da sculture di altri artisti importanti del XX secolo, quali Ernst Barlach, Käthe Kollwitz, Ludwig Kasper, Eberhard Bosslet, Joseph Beuys,
Hermann Blumenthal, Alexander Archipenko, Raymond Duchamp-Villon, Henri Laurens, Jacques Lipchitz, Alexander Rodtschenko, Laszlo Péri, Naum Gabo, Antoine Pevsner, Pablo Picasso, Salvador Dalí, Max Ernst.

Sono esposte inoltre opere di pittori espressionisti tra cui: Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, Max Pechstein und Otto Mueller sowie Gemälde von August Macke, Alexej von Jawlensky, Oskar Kokoschka, Emil Nolde, Heinrich Campendonk, Christian Rohlfs e Johannes Molzahn. Altre opere di Bauhaus-Schule (Max Beckmann, Ernst Wilhelm Nay), fotografie e grafiche completano la collezione.

Il museo ha anche un notevole parco delle sculture.

Altri progetti

Collegamenti esterni

Musei della Renania Settentrionale-Vestfalia
Dellviertel
Pinacoteche della Germania
Musei di scultura
Cultura a Duisburg

redpajama_set_name: RedPajamaWikipedia


Nicola Sherhod, curator at John Bunyan Museum, launches art competition with judge Alasdair Bright.
An art competition for people of all ages is being launched by the John Bunyan Museum and Library.
The museum is asking artists to create a piece of 2D art, inspired by John Bunyan's own famous adventure story The Pilgrim's Progress.
This free competition is open to children and adults, and prizes will be awarded in four groups; aged 3-7, 8-11 and 12-17, and 18+.
Local artist and illustrator Alasdair Bright whose work, often aimed at young people, includes book illustration, advertising, and the recent signs in the Castle Quarter area, is the senior judge, and will make the presentation to winners in June. There will also be a display of the winning entries during the summer.
Full details and entry forms are available online: www.bunyanmeeting.co.uk/museum, from the John Bunyan Museum shop, Mill Street, Bedford, or The Art Centre & Gallery, Howard Street.
Posters and entry forms are being sent to all Bedford Borough schools.
Closing date for all entries is Friday, May 22, 2015.
>> John Bunyan Museum tells the story of the Bedford man who wrote The Pilgrim's Progress, one of the greatest novels in the English language. During his remarkable life Bunyan was a soldier, tinker, preacher and dissenter. He spent 12 years in Bedford prison for illegal preaching and it was here that he wrote his masterpiece.


text:
Q: Angular 7 Universal (Server Side Rendering) [ERROR ReferenceError: document is not defined] I have implemented SSR for my project and deployed it to heroku.
Now, when I start app in heroku logs --tail I get a lot of things running and it lowers performance significantly. Most of the things are errors:

ERROR ReferenceError: document is not defined

Even though I am using constructions like this:
    if (isPlatformBrowser(this.platformId)) {
      const overflow = this.isMenuOpened ? 'hidden' : 'auto;';
      this.renderer.setStyle(this.document.body, 'overflow', overflow);
    }

Each time I reload page, this thing starts running again.
In my package.json file I have these commands to run:
"scripts": {
    "ng": "ng",
    "start": "node dist/server.js",
    "build": "npm run build:server:prod && npm run build:browser:prod",
    "build:server:prod": "ng run oilEnergy:server && webpack --config webpack.server.config.js --progress --colors",
    "build:browser:prod": "ng build --prod"
  }

So when Heroku is being deployed, it builds server and browser folders and compiles server.js file, which is then responsible for running my app.
After some time my app crashes and heroku shows Application error instead of my app.
I have no idea, why is this happening. Maybe somebody had this issue before?

A: try with documentinstead of this.document
following code is working for me
import { PLATFORM_ID, Inject } from '@angular/core';
import { isPlatformBrowser } from '@angular/common';

constructor(
    @Inject(PLATFORM_ID) private platformId: Object) {
    if (isPlatformBrowser(this.platformId)) {
      this.bodyTag = document.getElementsByTagName('body')[0];
      this.htmlTag = document.getElementsByTagName('html')[0];
    }
  }


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text:
Creative Nonfiction / EssayFeatured
THE NIGHT CAFE
written by Brandon Shimoda May 24, 2017
A young girl is standing at the window of a café, staring at the people dancing wildly inside. There is music warping through the glass, and the people are drunk. A man in a vest is playing the accordion. A man is walking back and forth with a baguette on his forehead. A woman in a sweater and scarf and a man in a hat are dancing. A woman in a long-sleeve shirt with a sweater around her waist a man in a trench coat and backwards beret are also dancing. Their dancing is contentious; they grapple like wrestlers. Their orbit is slurred. His eyes are opaque. Her breasts are enormous. He grabs her. She pulls away. They knock into the man with the accordion, but the music remains steady. A man in a hunter's cap, leather jacket and rubber boots, also knocks into the man with the accordion, but the music remains steady, as if it is coming not from the man and the accordion, but an omnipotent speaker above the girl's ears out the window. The man in the hunter's cap grabs the man in the trench coat and the woman with the sweater around her waist and pulls them apart. Then he lies down on a bench. A chair is tipped over.
A man is tapping on a table with a wooden cane. A man is beating on a countertop with his hand. A woman is sitting alone at a table.
The man with the baguette on his forehead is wearing an unbuttoned coat, dark pants, and rubber boots. He stares down his mustache to keep the baguette from falling off. He rolls his eyes back. A woman slaps the man on the arm and the baguette falls off. He puts the baguette back on. He holds a bottle over a glass but nothing comes out. When he gets up from the bench and bumps into the accordion player, the baguette falls off again, but the music remains steady.
The young girl watches with a mixture of awe and fear. Her ears are large, her hair and clothes are wet. It is raining.
I have tried to express the terrible passions of humanity, Van Gogh wrote of his painting, The Night Café, which he painted in Arles, France, in September 1888. The chairs in the lower left are pulled out and empty; two face the center of the room. On the table are two bottles and two glasses. The empty chairs are still warm. Did the people step out or are they gone for the night?
What is outside The Night Café that makes the terrible passions so conspicuous, so lurid—luring the unknown and invisible people at this hour beyond the lights and warmth and lethargy and company and safety and terrible compassion—on the inside?
I have tried to express the idea that the café is a place where one can ruin oneself, go mad or commit a crime, Van Gogh wrote, but it seems the café is a place where one is safe from having ruined oneself, gone mad, or committed a crime; a place where one can process the damage, go further into it, reflect on it, or turn away, forget or try to forget.
Or revel in their ruin, madness, or crime.
Or atone.
Or be punished.
The terrible passions are even more powerful and perverse on the outside, because the outside makes the system by which the passions are judged. One is sentenced to hell, for example, for the crime they commit on the outside. Van Gogh's low public house is a consequence—a relief, at best, at worst, eternal damnation. If there is an understanding that the inside and the outside are the same, that is: the world's insatiable suffering.
The important thing for me are the refuges, the places people go to hide, said Rainer Werner Fassbinder. They tell me more about the external world, about the elements of fear and danger lurking in external life, than the real external world. I think whatever fears are at work inside people can be recognized from the places they flee to; these places provide the opportunity for such a recognition, do you understand what I'm saying?
Then there is the damnation of the museum, which is where The Night Café exists. Could Van Gogh have known the fate of his low public house? A betrayal of his aspirations inhered within; that is where his audience already existed. Because: there was no museum. It did not exist. Neither did the future. But the anemic, homogenous hell of the museum is where the future was headed—New Haven, Connecticut, circa 1960.
DD and I drove to New Haven from Beacon, New York, via Newtown, Connecticut. We were visiting our friend Youna (a poet), her husband Munro (a painter), and their daughter Musa. A year earlier a 20 year-old boy shot and killed 26 people, including 20 children, at an elementary school in Newtown. The last time I had been in Newtown was in the 1980s.
I knew a boy named Justin. He was my best friend's next-door neighbor in Ridgefield, the town where, twenty minutes southwest of Newtown, then he moved with his family to a lake on the Housatonic River in Newtown. He was short, skinny, had a nasally voice. Last I heard he had become a Navy SEAL.
When I was young, my family took a canoe down the Housatonic. Shortly after putting in, we were pulled into rapids, and I fell out. I floated downriver away from my family. A fisherman stepped into the river and caught me. The fisherman wrapped me in a wool blanket and drove the four of us back up the river.
Drably colored houses piled against small wooden piers overhanging streamer-like reflections in the river. In Derby, a woman with an overstuffed shopping cart was stealing clothes from a Salvation Army donation box. Brueghel the Elder's Big Fish. Black Sabbath's Born Again was playing in a used bookstore in a defunct rubber factory in Derby. I carried Tolstoy's Childhood, Boyhood, Youth through the bookstore's overstuffed rooms. It was so cheap there was no excuse for not buying it, except for a vague intuition it was not the right time.
When people from Connecticut tell me where they are from, I never know where it is, and have to admit that, even though I grew up in Connecticut, I do not know where it is.
The woods are empty. Deer have eaten all the flowers.
Witches lived in the woods behind the house where I grew up, in a small house covered in black tarpaper. Rain was drawn through the tarpaper onto the leaf-covered floor. Porno floated in the rain.
There was another house in the woods—smaller than the witch's, though taller, like an outhouse built in the style of a country church. A boy lived in the house. Or did; he was dead—he died sitting in a chair facing the door. I pushed it open. The boy was sitting with his hands on the knees of his denim overalls, like he died waiting for someone, his skin waxy, his glassy eyes fixed to the door, but I was too late. The silence found us the same.
There is a mirror. The mirror reflects through parted curtains into the café. The reflection is obscure, and the color portraying the obscurity is green. Is the mirror another doorway? It is very narrow, an upright coffin. Is there a limit to how many times a thing, a space, can be reflected before it resolves into pure color? The green obscurity is the limit. There is blue in the bodies of men, on the upper wall behind the large oval clock, hanging 12:15 a.m. There is blue in the bottle on the table where the people were sitting. There is yellow in the bodies of haloed lights. There is yellow in the hardwood floor and the vase holding the rose nosegay. I especially like the combination of Van Gogh's descriptions of the café as having an atmosphere like a devil's furnace and an appearance of Japanese gaiety, for the evocation of their coexistence.
I have tried to express the terrible passions of humanity by means of red and green, Van Gogh wrote (to his brother Theo, September 8, 1888). He wrote about the glow of orange and the dark yellow and the lemon-yellow lamps and the landlord's white clothes turning lemon-yellow—the landlord like a father, the men his flock of orphans—and the yellow-green and the pale sulphur and the glow of green and the pale luminous green and the soft tender Louis XV green of the counter and the most alien greens and the green billiard table and malachite and the harsh blue-greens and the blue and the violet and the most alien reds and the blood red. If the night café feels like hell, it is a carnal hell, an intestinal hell. The slumped-over men have been devoured, are being digested.
The woman in the corner near the parted curtains, sitting with a man who looks like a debonair Van Gogh, is the only woman in the café. She is wearing an orange coat and green dress, the inverse of the colors of the room. She is the inverse of the room; she wears the downward gaze of a woman listening to counterfeit promises while contemplating the distance of escape, greater than merely through the curtains, past the green mirror, and out the door. The green of the men, and the lights, hives around which the strokes become supplicating insects, is bilious and untrustworthy. And yet, the coffin-mirror reflects a desperate hope: for peace in the inferno.
After leaving New Haven, I wrote to Youna, Would you be able to go, when you have time, to the Yale U. Art Gallery and look at Van Gogh's Night Café, and then, after looking at it, tell me what it is, what you see, what you see in it?
I envisioned an empty museum and heard the sound of Youna's shoes. I saw daylight on the floor. Then I saw Youna standing in a small shed, staring at a wall. It is after midnight and everyone's asleep. The shed is dark but for one source of light, which I cannot see, but paper lifting slightly from the wall. I hear the sound of Youna awake. She is writing. She is one of the most important poets in my life, but that is to reduce a feeling I cannot put into sense. It is partly that I cannot define what or how Youna is that has evolved the imperative mystery of what begins, for me, in the shed where Youna once wrote. That shed is in Missoula, Montana, where Youna once lived, and wrote, as far from New Haven as New Haven is from Arles, though I never actually saw the inside. To stand in that half-illumined space would have felt like a violation, but of what?
Every time I visit Youna, I make a point of visiting her desk with all the notes and fragments clinging to the wall, and yet I feel that what I am standing before is a reconstruction of what lies within—a mirage, that is, bearing inside the private and illimitable space where Youna actually writes or does not write, because how could it possibly be so exposed? Each poem falls from underneath the intensity with which each fragment is pinned to the altar for one who is not yet dead. Suddenly New Haven had become complicated, at least, and suspect, at worst, in the drama of the painting. A month later Youna wrote back:
Ordinary life.
The waiting-for-it.
The time of the light—the halo
around light that tells us
we're in time
Pink flowers in a room
full of men
Stripes on the floor
as on a shirt
Asking me to play
to bathe in the table or
always the or, ocean—
of tables, green squares, blue
The lamps giving notice
A single name
put my hand on your…
put your arm around my…
Its drip of green
Its beyond a room
of yellow, firewood,
trying to get loss
In the room, is it night?
Will I see it when
I close my eyes?
Sawdust on the floor?
Even his expression is green and tells
you: this is no moment but
(does time keep on going
after the end of time)
Can you swim into
a table?
No odd numbers.
Beautiful objects
No one has done
the cleaning up
Flesh is a material
Green dark red dark green yellow. Black. Pale green everywhere. Mustard bright blue dark blue navy. Overall effect of pale green. Some browns. Whites.
Who he looks at
she hears nothing
what it is of
The men came and then
they were gone
Nowhere else
Hide your face
Le café de nuit
V. van Gogh
Who are the men in Le café de nuit? Van Gogh calls them night prowlers and little sleeping hooligans. They occupy what Van Gogh considered to be one of the ugliest pictures he made. The ugliness was intended, by colors not locally true, but to the ardent temperament Van Gogh wanted to express—a place where one can ruin oneself, go mad or commit a crime. The men in the café most resemble ruin. They do not appear criminal or mad. They do not appear debauched. The violence, the ardent temperament, the terrible passions belong to the café, not the men. The men are worn out, depleted. They have attempted to reach after terrible passions and failed. Their temperament is not ardent but melancholic.
. Ordinary life.
. The waiting-for-it.
The waiting-for-what?
. … no moment but
. the end of time
That is where the men are: no moment but / the end of time.
If it is the end of time, what are they waiting for? Ordinary life, the end of time.
But the end of time is not the same as no time remaining, so there still remains a terrible amount of ordinary life.
The men are sharing their suffering insofar as they are in the night café. If they shared more or went further, they would break the pact of the painting and become criminals. The people who got up, who passed before the green mirror, and went outside, are not of the night café. They are the only ones who got out of their chairs, while everyone else sank further into their suffering. Then just as abruptly, back into the night.
It is not the suffering we inflict on ourselves, wrote Simone Weil, but that which comes to us from outside which is the true remedy.
Even when it is an accomplished fact evil keeps the character of unreality, she wrote; this perhaps explains the simplicity of criminals; everything is simple in dreams. This simplicity corresponds to that of the highest virtue.
I spent an hour one night in the middle of winter (March 2013) with a painting by Van Gogh: Ravine, painted near Saint-Paul asylum in Saint-Rémy, where Van Gogh was a patient from May 1889 through May 1890. Ravine was in a room surrounded by Gauguin, Matisse, and Monet. It reminded me of two other fields: Monet's Poppy Field in a Hollow near Giverny (1885) and the field of flowers in the first of Kurosawa's Dreams:
A young boy sneaks into the woods and spies on a foxes' wedding procession. When the foxes see him, the boy runs home. When he arrives, his mother is waiting. An angry fox came looking for you, she tells the boy. He left this, she says, pulling a tanto (short blade) knife out of her robe. She tells him that he must cross the field of flowers to beg forgiveness for spying on the foxes. If they reject his apology, he must kill himself. Monet's poppies, meanwhile, are growing in the shape of a grave-like path in a hollow, but the path goes nowhere. The hollow ends in a slope up to a row of dark trees limning the sky. Kurosawa's flowers are growing in abundant ranks to the edge of the woods. The woods are abbreviated at the base of fogged mountains. Both fields force a decision: keep going or turn back. To keep going is to enter the void, but the sky above the poppy field and a rainbow over the field of flowers suggest the fate, or inherent impossibility, of turning back.
Van Gogh's ravine is an impenetrable tangle, with swaths and tufts of grass growing along ledges and rocks. It expresses the psyche of the fields of flowers; its impenetrability is the nature of being caught between phases. Or trapped in motion, abandoned to the passions of possibility. The flowers in Van Gogh's ravine are naked and strong. Tufts of fire stare at each other across the mint-green divide, more monkish than the monk-like figures camouflaged on the path.
Van Gogh's colors, even when least assuming, are wet; his colors immediately differentiated his paintings from the colors of Gauguin, Matisse, and Monet. Their colors were stressed and fading, whereas Van Gogh's colors were not only vibrant, but still happening.
A conservator, while studying an x-ray of Ravine discovered, beneath the paint, another painting. The painting beneath the painting corresponded to a drawing Van Gogh sent to Theo in July 1889, titled Wild Vegetation. The corresponding painting was painted a month before Ravine. Then Van Gogh ran out of canvases—Theo was late on replenishing his stock—so he painted over it.
Un hombre pasa con un pan al hombro
¿Voy a escribir, despu és, sobre mi doble?
(A man walks by with a loaf of bread on his shoulder.
I'm going to write, after that, about my double?)
César Vallejo (translation by Clayton Eshleman)
The difficulty in being alive and anywhere is that I am also not and somewhere else. The museum was closing. I did not want to leave. If the painting was still being painted, what would I miss?
It was snowing. I walked through the city with wet hair, like the young girl at the window of the wild dancers. The city was soundless and empty, but stifled, like a grave to which all of the people had danced. My shoes soaked through.
During the day, New England cities are colorless and ambivalent. At night, the ambivalence, the feeling of being nowhere, resolves into a more dire and mystical feeling, something akin to electric abandonment, as if the center of the world had moved on, leaving what surrounds it, the margins, the marginal, to unmonitored wildness, freedom.
At the center of the vortex formed by the restlessness of desire, conjoined but separating, grows an animal property. The animal property is the quickening of a secondary, prenatal self—a body inside a body. The body inside the body grows feverishly beyond the limit of the primary body until the primary body has been surpassed. Like an undeveloped fetus that forms the voice that opens and closes your dreams, you are suddenly at the mercy of your own evil shadow. Suddenly, you feel, but your life has always been contingent upon the shadow.
It is a tragedy that the souls inhabiting the night café are not given their respectable place in the hour- and limitlessness outside, and it is a tragedy that these souls are consigned to asylum in a place that mocks and indicts them, and it is a perversion of that tragedy that the people who were just there, the interlopers, are able to move so freely. The night prowlers, the sleeping hooligans—what will become of them? What the people want—and they are desperate—is purification, to no longer be made of battles between hybridized, irreconcilable selves, but become at last their own soul without body: transcending-asylum in eternal transition.
Visiting a painting in a museum, then leaving the painting: the imagination begins to perform all manner of tortures in order to keep up with the reality of what is going on behind the walls. But there is no assurance that the imagination will not outperform the unendurable tortures on the inside, and that the moment the lights come on, everyone will turn and look at you, and pull out a chair.
Everyone sees you—revealed in the light, inebriated, exhausted—painting them beyond who they are, and more terribly, who you are. The green will brighten upon the mirror, the yellow lights will go natural, the red walls will stripe momentarily. They will suck you to the rose. And you will be there with them inside the café—you will be one of them, but which one? The more present, the more manifold and spectacular making, the more impossibly great is the distance.
NOTES: This essay was originally published in Modern Pizza (issue two, "Red Rooms"), co-created and edited by Munro Galloway and James Miller. For more information, or the issue itself, write to PO Box 1184, Redlands, CA 92373. The opening paragraphs describe a scene in Béla Tarr's Sátántangó (1994). The Night Café is hanging in the Yale University Art Gallery (1111 Chapel Street, New Haven, CT). The quotation by Rainer Werner Fassbinder is from "I've changed along with the characters in my films," an interview published in Performing Arts Journal, Vol. 14, No. 2, May 1992. Youna Kwak's writings and translations include a book on intimacy, autobiography, and Roland Barthes (in-progress), a translation of Véronique Bizot's Les Jardiniers (Lavender Ink, 2017), and can be read in Boston Review, The Brooklyn Rail, The Conversant, Harriet (The Poetry Foundation), Muthafucka, The Offing, among other places. Ravine is hanging in the Museum of Fine Arts (465 Huntington Ave, Boston, MA). The two lines by César Vallejo are from an untitled poem in Poemas Humanos (English translation by Clayton Eshleman).
Featured image: Still from Sátántangó Dir. Béla Tarr, 1994
THE NIGHT CAFE was last modified: May 22nd, 2017 by Brandon Shimoda
Brandon Shimoda
Brandon Shimoda was born on August 6. His most recent books are The Desert (poetry and prose; The Song Cave), Dept. of Posthumous Letters (drawings; text by Dot Devota and Caitie Moore; Argos Books), and The Grave on the Wall (prose; forthcoming from City Lights). Other excerpts from The Grave on the Wall have appeared in Evening Will Come, Fanzine, The Felt, Harriet, The Offing, P-Queue. He lives in the desert.
The Cupboard Pamphlet
The Birds: THE KING OF THE CASTLE IN THE AIR
The Orchard Green and Other Colors by Zach Savich
Peachtree Street
Sunday List: A Supposedly Fun Thing I'll Never Do Again


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NEPCon's Sourcing Legal Timber 2.0 Conference | 15 March 2018 | Woking
On Thursday 15th March, NEPCon will hold a conference entitled 'Sourcing Legal Timber 2.0' at the The Living Planet Centre, Woking, Surrey.
"It's been almost five years since the EU Timber Regulation (EUTR) came into force and things are looking quite different to how they did then. Enforcement authorities are stepping up their game all over Europe, a lot of new information and tools are available from all kinds of sources and FLEGT licensed timber is now available on the market," explain the organisers.
"Nonetheless, living up to the EUTR requirements is still a challenge for companies across Europe. Therefore NEPCon would like to offer the industry, authorities as well as other stakeholders the opportunity to participate in a free international conference on 15th of March near London."
The event is designed to shed light on a wide set of key issues in the Timber Trade Industry such as:
avoid common due diligence pitfalls
gain access to insights on key risks and how to deal with them
understand how the enforcement authorities evaluate your performance
understand how conducting quality due diligence makes good business sense
communicate about FLEGT-licensed timber
promote companies' compliance
gain an overview of the vast jungle of free info and tools available and how to use them
plan for future sourcing
understand how technological advances in timber traceability and verification can help improve the efficiency and credibility of due diligence systems
connect and exchange experiences with timber-related companies, trade associations, technical experts and relevant organisations from across Europe
To register for the event, complete the online form here.
For any queries, you can contact Ann Weddle on [email protected] or +44 7491 812337.
View the event on CTI Industry Calendar.
[News URL: http://cti-timber.org/content/nepcons-sourcing-legal-timber-20-conference-15-march-2018-woking]
Materials for Architecture 2018 | 25-26 April 2018 | ILEC, London
After a successful debut event in April 2017 that attracted over 1,000 visitors and 40 exhibitors, Materials for Architecture is returning to the ILEC Centre in West London on 25 and 26 April 2018.
Embracing the event's ethos of innovation in the development and specification of products for architecture, construction, and design, Materials for Architecture 2018 will bring opportunities for visitors and exhibitors alike to learn, be inspired, and network.
Promoted by major organisations in the UK Timber Industry such as the Confederation of Timber Industries (CTI), the Timber Trade Federation (TTF) and Wood for Good, Materials 2018 features conferences, an exhibition area and a wide array of CPD seminars.
A particular focus will be set on the innovative development and application of materials for architecture and construction, from structure to finishes.
To register for free, visit www.materialsforarchitecture.com
[News URL: http://cti-timber.org/content/materials-architecture-2018-25-26-april-2018-ilec-london]
IOM3 'Timber 2018' Conference | 26-27 June 2018 | London
On 26 and 27 June 2018 the Wood Technology Society of the Institute for Materials, Minerals and Mining (IOM3) will hold its 'Timber 2018' conference presenting the latest trends and emerging research in timber, wood science and related fields.
The event - to take place at IOM3 headquarters in London - aims to bring together wood scientists, technologists, and businesses from all areas of the timber industry. Topics will range from preservation to panel products and from modified wood to engineered timber. There will also be room for insights on nano-scale researches and industrial application and development of new products.
"It has been ten years since the last Institute of Wood Science conference in Bath in 2008," say the Organisers in a press release. "During this time the timber industry has recovered from recession; seen growth in modified woods, wood plastic composites and CLT; adapted to the restriction of CCA and many other preservatives and marvelled at the advent of tall timber buildings. Meanwhile researchers have been developing new testing techniques; advanced models of cell wall structure and mechanics; grading models for British species and new biobased adhesives, among others."
"It is high time for a conference to bring these many areas of timber research under one roof to share information and ideas. This new format conference will span all topics related to timber, ranging from the fundamental experiments understanding the nano-scale through to the industrial application and development of new products."
The Wood Technology Society has also launched a Call for Papers. The event will provide a forum to present academic and industrial research in timber. Abstracts of up to 600 words for both oral and poster presentations are requested by 16th February 2018.
For more info and registration, Contact the conference organisers on [email protected]
View the events on CTI Industry Calendar.
[News URL: http://cti-timber.org/content/iom3-timber-conference-26-27-june-2018-london]
Offsite Construction Awards are back! - Entries open until 3 January 2018
The only Awards specifically focused on offsite construction are back for 2018, with submissions for innovative projects open until Wednesday 3rd January 2018.
Organised by Radar Communications and promoted by the CTI, the 2018 Offsite Construction Awards will take place on the evening of 6 March as a part of Ecobuild in the main Arena at ExCeL in London, and are set to attract over 350 national business leaders and high profile decision makers from the across the mainstream construction and offsite manufacturing industry.
Entries last year exceeded 300 and the event organisers are in no doubt that this will grow in 2018. The original award categories range from specific material and systems; such as Best use of Concrete, Steel, Timber, Volumetric Technology, to sectors including Commercial Project of the Year, Housing Project of the Year, Infrastructure Project of the Year and Education Project of the Year.
To cater for an increasing demand, and to reflect the wider adoption of offsite technology, seven new categories have been introduced for 2018 which focus on the people at the heart of these cutting edge projects, including Architect of the Year, Contractor of the Year, Installer of the Year and Client of the Year.
The Awards are open to public and private organisations with projects located in the UK – with the business or project having a strong offsite construction theme. All 22 categories are free to enter at http://www.offsiteawards.co.uk/enter
Find all the event info on the CTI Industry Calendar here.
[News URL: http://cti-timber.org/content/offsite-construction-awards-are-back-entries-open-until-3-january-2018]
Nov 3rd 2017
New Charter for Trees to be launched at Lincoln Castle on 6 November 2017
On Monday 6 November 2017, on the 800th anniversary of the 1217 Charter of the Forest, the new Charter for Trees, Woods and People will be launched at Lincoln Castle – home to one of the two remaining 1217 Charters of the Forest. It will then rest in the Lincolnshire Archives.
After a gathering on Castle Hill at around 5pm, a lantern procession into Lincoln Castle will unveil the Tree Charter Champion Pole representing the Tree Charter. The pole is carved by artist Simon Clements from Grown in Britain oak, showcasing words by poet Harriet Fraser. Visitors can also view the Charter for Trees, Woods and People, written in oak gall ink by calligrapher Patricia Lovett, alongside the 1217 Charter of the Forest in the Castle's Magna Carta vault.
Following this will be an opportunity to sign the Tree Charter, talks at Speakers' Corner, live music, woodcrafts, artwork by Assemble, and a historical exhibition of the 1217 Charter of the Forest.
The call for a Tree Charter was initiated in 2015 by the Woodland Trust in response to the crisis facing trees and woods in the UK. It aims at "building a people-powered movement for trees." More than 70 organisations (including the Confederation of Timber Industries) and 300 local community groups answered the call and helped to collect over 60,000 tree stories from people across the UK, demonstrating the important role that trees play in their lives. These stories were read and shared, and helped to define the 10 Principles of the Tree Charter, ensuring that it stands for every tree and every person in the UK.
Nature: Thriving habitats for diverse species;
Planting: Planting for the future
Arts & Heritage: Celebrating the cultural impacts of trees
Utility & Livelihoods: A thriving forestry sector that delivers for the UK
Protection: Better protection for important trees and woods
Planning: Enhancing new developments with trees
Health & Wellbeing: Understanding and using the natural health benefits of trees
People & Access to Trees: Access to trees for everyone
Coping with Threats: Addressing threats to woods and trees through good management
Environment: Strengthening landscapes with woods and trees
Over 100,000 people have already pledged their support to the Tree Charter. Click here to sign the petition.
[News URL: http://cti-timber.org/content/new-charter-trees-be-launched-lincoln-castle-6-november-2017]


I'm so excited to have Alexa Ludeman from Tin Can Knits here today as our first guest post for the Summer Sweater Knit Along 2015! When it comes to sweater knitting Alexa and Emily are pros! They even have a wonderful free series walking you through some of their popular sweater patterns! So I thought who better to do a post on how to knit a sweater than Tin Can Knits themselves!
One of the most discussed subjects from members of our SSKAL is where to start when you decide you want to knit a sweater. This can be a daunting jump for a knitter who's never made a garment before. There is a wealth of knowledge out there on garment knitting and it can become overwhelming to find a good starting point.
Alexa has compiled some great tips below to help knitters feel more confident and comfortable in planning their garment projects! Knitting sweaters is rewarding, fun and addictive! So jump in - we're all here cheering you on!
So often we hear from knitters that they are afraid to knit their first sweater. We get it. It is usually more of a time commitment, more of a yarn commitment, and sometimes more new skills than knitters are looking to tackle. And it might, MIGHT, (heart be still) not be perfect. Here at TCK we say, be brave! It is only knitting after all. You like knitting right?! We have a few tips for making your first sweater a great success.
1. CHOOSE YOUR PATTERN WISELY.
Choose something that isn't crazy difficult (what constitutes 'crazy difficult' depends on the knitter of course). Sure, that fair isle sweater with 26 colors, waist shaping, and a unique construction would make an awesome addition to your wardrobe….but maybe take a baby step here. Try something top down so you can try on as you go. Maybe stick with a simpler construction and stitch patterns you are comfortable with. Look for something you like 'as is', not something that will require 10 modifications!
2. KNIT A WEE SIZE.
This won't work for all patterns obviously, but if you are knitting a TCK pattern, it will! The teeny tiny sizes are very quick to knit up and make excellent gifts. They would be more like a really big swatch. They give you an opportunity to learn all the sweater techniques, without all the hours of knitting in between steps. If you work in the yarn you will be using for your own sweater you can really see how it will work with the pattern, get a great idea of your gauge and be ready to tackle a grown up version with confidence!
This brings me to the scary topic of gauge. We have a whole tutorial on the subject HERE, but they gist is: don't wuss out. If you are going to go to the trouble of making a gauge swatch (and for garments we certainly recommend it), don't make a coaster size and don't skip blocking. You want to treat your swatch as you would your finished garment. You should also choose your size carefully! We have a full conversation about size choice HERE.
4. USE A YARN YOU LOVE!
I know it's a first sweater, it may not turn out perfectly but if you knit it in a yarn you do not like, you will definitely not like your sweater. This doesn't mean fancy or expensive, just something you like…and something you can block!
Along the same lines as gauge, don't wuss out! You just spent many hours slaving away on this garment, don't skip the last step. Think of that yarn going through your fingers day after day, your sweater needs a bath! Soak your sweater, wrap it in a towel and press the water out, then lay it out to dry. Your yarn will come to life, your stitches will even themselves out, and your sweater will look better than ever!
6. REEL THOSE EXPECTATIONS BACK A NOTCH.
While a hand knitted sweater is a wonderful thing, it's not the answer to all of life's problems. Perhaps you are imagining the effortless Audrey Hepburn type who will be staring back at you when you look in the mirror in your new hand knit sweater. I like to think I will be a chic hipster type who looks like she just threw on a tweedy sweater, plaid shirt, and jeans combo, (sans make-up or hair product of course) and is ready for a farm-to-table brunch. But let's be real for a moment. I might have pulled that look off effortlessly 10 years ago and even then… probably not! Who will be staring back at me? A 31 year old mum of 3 who could use a little blush, needs to run a brush through her hair, and who is pretty pleased with her sweater (that may or may not have a spill of some kind on it, even though she put it on that morning). A hand knit sweater is a great accomplishment but it won't change who you are.
If you are looking for help we have some suggested further reading! Here at Tin Can Knits we have The Simple Collection, a collection of 8 free patterns and (the best part) step by step tutorials to go with each one!
If it's sweaters you have in mind we have Harvest (a cardigan), and Flax (a pullover). We also have tutorials for our Gramps sweater and our Antler Sweater.
You can find an awesome support page filled with helpful information HERE on the Tin Can Knits website!
Thanks so much Alexa! So many awesome tips!!! Love ya...xoxo That was such a helpful post!
Make sure you guys pop on over to Tin Can Knits and share the love! They have some of the best knitting books and patterns out there! They are a wonderful resource for learning about knitting and also have a wealth of knowledge/patterns for new and advanced knitters!
Are you knitting your first sweater with us this summer? What are your fave sweater knitting tips? I'd love to hear from you!
P.S. Don't miss our newly revamped TIPS + TECHNIQUES PAGE! We've got tons of helpful guest posts, free patterns, printable, videos and more! Click HERE to get learning!
This post is proudly sponsored by Brooklyn Tweed.


text:
Early alert: 'Mean Girls' musical is coming to…
Early alert: 'Mean Girls' musical is coming to San Francisco
"Mean Girls" (photo by Joan Marcus, courtesy SHN)
By Jim Harrington | jharrington@bayareanewsgroup.com | Bay Area News Group
PUBLISHED: August 23, 2018 at 11:24 a.m. | UPDATED: August 23, 2018 at 2:34 p.m.
Get ready, Bay Area, because "Mean Girls" is heading your way.
The award-winning Broadway musical, based on the awesome 2004 teen comedy starring a never-better Lindsay Lohan, is embarking on its first national tour.
And it's coming to San Francsico.
The record-breaking musical comedy, produced by Lorne Michaels, Stuart Thompson, Sonia Friedman, and Paramount Pictures, will be part of the 2019–2020 SHN Season, according to a news release.
It will actually open in San Francisco in the summer of 2020, but you'll want to play ahead, obviously,if you want to secure what will surely be one of the top tickets of the year.
Those with the best chance to score tickets are current 2018-2019 SHN full season and mini plan members, who will be first in line to secure "Mean Girls" seats when they renew the complete 2019-2020 season.
For more information, visit shnsf.com.
"Mean Girls" features a book by multiple Emmy-winner Tina Fey, who wrote the screenplay for the film (and starred in it, as well), and music and lyrics by Jeff Richmond and Nell Benjamin, respectively. Casey Nicholaw directs and choreographs.
Mean Girls opened on Broadway in April 2018 at the August Wilson Theatre, where it has played to sold-out houses ever since. The musical had its world premiere at the National Theatre in Washington, D.C., in fall of 2017.
PM Report
Jim Harrington | Pop music writer
Jim Harrington is the pop music critic for the Bay Area News Group. He began writing about the Bay Area music scene in 1992 and became the full-time pop music critic for the organization's Oakland Tribune in 2006. He is a South Bay native and graduate of San Francisco State University.
jharrington@bayareanewsgroup.com
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Yeah, the title of this post sounds a tad sappy. I apologize for that. I took a couple of pictures this past weekend that I wanted to share—a rainbow so big, I couldn't get it all in one shot. And offering some prophetic quotes about rainbows along with the images just seemed like a good idea.
Here on Maryland's Eastern Shore, a spring storm rolled in. The ominous rain clouds pushed north east and this gigantic rainbow appeared over the ocean. It was spectacular!
I hope you hung in there for that last quote. That's my favorite. *laughing* Do you have a rainbow quote you'd like to share? A rainbow story? Please share in the comment section.
Warm weather, opening the windows to fresh breezes, crocuses, daffodils, and dandelions, budding leaves, clear skies, sunshine… These are just a few of the reasons I love spring. Something about this special season makes me feel very happy. I can't figure out if it's the peeling off of heavy coats, mittens, and hats, or the anticipation of walking through the soft, green grass in my bare feet. I love Spring!
I'm a USA Today Bestselling Author and I've written over 30 romance and women's fiction novels. I'm proud to say my books have won awards and have sold 4 million copies worldwide. My stories are available in paperback, audiobooks, and ebooks for Kindle, Nook, Kobo, iBooks, and Google Play. Check out my books, and connect with me on Facebook, Twitter, and Pinterest. I love to hear from readers.
Labels: Quotes About Spring, What do you like about Spring?


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Community Use of School Facilities
The School Board may permit use of school property by members of the community when such use will not impair the efficiency of the school. The Superintendent shall develop guidelines and applications for use of school property. Requests for the use of any school facilities shall be made to the Superintendent or Superintendent's designee. The Superintendent shall report actions taken under this policy to the School Board at the end of each month.
If the School Board permits the use of its facilities by members of the community or the distribution of literature on school property or at school functions, it will permit such use or such distribution by the Boy Scouts of America, the Girl Scouts of the United States of America, and other youth groups designated as patriotic societies by federal law, to the same extent and in the same manner as all other persons or groups. (Policy KG)
Information on the process for building rentals is outlined in regulation KG-R below. Anyone wishing to rent an IWCS facility must complete the rental application (KG-E) and send it to the school or facility requested at least 21 days prior to the requested rental date.
KG-R: Community Use of School Facilities
KG-E Application for Community Use of School Facilities
Community Affairs and Media Relations
Inclement Weather: Emergency Opening & Closing Procedures


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Q: GoogleMaps API: How to remove multiple markers? I have a function that pins marker in Google Map. This is how it looks:
// Look to draw marker in various coordinates. Pseudo code...
for(var i = 1; i <= noOfCoordinates; i++){

   var lat = latitude[i];
   var long = longitude[i];

   drawMarker(lat, long);

};

var drawMarker = function(lat, long){
// code to draw marker

marker.setMap(map);

};

But I also have a function to remove those markers
for(var i = 1; i <= noOfCoordinates; i++){

   removeMarker(null);

};

var removeMarker = function(map){
// code to draw marker

marker.setMap(map);

};

drawmarker(); pins/draws marker in google map but removeMarker(); does not remove all markers from the google map, it only removes last one.
I want to remove all marker associated with it, that was drawn from drawMarker(); function. Remove = hide, not delete.
how can I fix this?

A:
Keep references to all the markers, call .setMap(null) on each one

geocodezip suggests like this:
markers = []; // <-- global variable

for(var i = 1; i <= noOfCoordinates; i++){

   var lat = latitude[i];
   var long = longitude[i];

   var marker = drawMarker(lat, long);
   markers[i].push(marker);
};

var drawMarker = function(lat, long){
// code to draw marker

  marker.setMap(map);
  return marker;
};

for(var i = 1; i <= noOfCoordinates; i++){

   markers[i].setMap(null);

};


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Above all else, prayer leads Orthodox Christians to repentance, forgiveness, piety, and every virtue inspired by Great Lent. His Eminence Metropolitan Joseph preached this lesson at St. Nicholas Antiochian Orthodox Christian Cathedral in Los Angeles on the Sunday of the Publican and the Pharisee, the day that ushers in the Church's preparation for the Great Fast.
Sayidna Joseph said that the Pharisee, a religious leader perceived to be pious, offered a "judgmental prayer" to God by saying he was not like others, "extortionists, unjust, adulterers, or even like this tax collector" (Luke 18:11). "This is not a prayer at all," His Eminence said. "But the Publican offers a holy prayer — 'God, be merciful to me a sinner!' (Luke 18:13) — this is what God wants to hear from us.He is ready to visit us through this type of prayer because we are ready for Him."
His Eminence likened the Pharisee's prayer to superstition, thinking he could justify his faith by tithing and fasting twice a week (Luke 18:12). "This is just like thinking it's enough to light candles, socialize, and then fight one another in the Church," Sayidna said. He pointed the faithful to the prayerful humility of the Publican. "When we humble ourselves, we lose nothing but pride and anger and gain Christ. He moves closer to us and we move closer to Him."
After the Hierarchal Divine Liturgy and the fellowship hour next door in the Cathedral Hall, Sayidna Joseph traveled to the home of Ehab and Rania Dahabreh, where he blessed the house and shared his vision and updates for The Antiochian Orthodox Institute (TAOI). He and TAOI's director, V. Rev. Fr. Michel Najim, conveyed how it will further equip present and future shepherds to more fully minister to their flocks beyond their initial seminary and theological formation by giving them residency and training in the ethos, practices, and outreach techniques of the Orthodox Church and its saints of the Holy Tradition.
Sayidna Joseph and Fr. Michel, along with other leaders and board members of TAOI, fielded questions from the donors on the importance of the Institute's work and how to get involved. In its first year, it has received more than $100,000 in donations to be used, in part, to renovate the facility purchased in LaVerne, Calif. TAOI has scheduled a seminar on the formation of the Holy Bible in the Arabic language through ancient origins and modern application in the lives of believers. St. John Coptic Orthodox Church (21329 E. Cienega Ave., Covina, CA 91724) will host the seminar on Sunday, May 22, 2016, from 5–8 p.m. For more information about the seminar, you can email biblecelebration2016@gmail.com.
To learn more about The Antiochian Orthodox Institute, which offers the only English-language Orthodox Christian Ph.D. program in North America, visit their website and Facebook page.


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TECHPROPS
Honor 7A review: Can Honor's best value smartphone rival the Motorola Moto G6?
Honor's latest budget option has the look and feel of a much pricier phone – but should you go Moto instead? Pros Fantastic display Face Unlock Low price Cons Laggy UI Unreliable fingerprint reader Weak CPU and GPU Revocation of Android licence leaves future uncertain UPDATE: Due to the ongoing trade ban imposed upon Huawei […]
Leaked Moto Z4 pics show it's keeping the headphone jack and Moto Mods
The next entry of Motorola's Z series has likely been revealed, as noted leaker Evan Blass tweeted out these shots of the Moto Z4. Matching specs and a smaller picture that leaked earlier, the Z4 shown here features a teardrop front-camera design, single-lens rear camera setup, with a headphone jack and no visible fingerprint sensor. […]
Motorola Moto G7 Plus hands-on review: The best of Motorola's four new phones
The 'premium' Moto G7 model has a superior CPU and camera to its sibling smartphones If there's such a thing as a flagship budget smartphone, then the Motorola G7 Plus is just that. The Moto G7 Plus has just been announced in Brazil, and Motorola has given me exclusive access its latest pride and joy. […]
Motorola Moto Z3 announced: Specs, features and UK release date rumours
Motorola's third-gen flagship has just been announced – here's everything you need to know about the new Moto Z3 This year has already seen the release of a whole host of smartphones from Motorola, including the Moto E5, Moto G6 and the entry-level Moto Z3 Play (released in the US but not yet over here). […]
Motorola Moto G6 review: The Return of the King
A stunning budget smartphone, the Motorola Moto G6 sets a new standard Motorola hit a rich vein of form with the first four generations of Moto G but, with the Moto G5, it faltered for the first time. Motorola quickly followed up with the more accomplished G5S and G5S Plus, but the damage was done. […]
Sony Xperia 1 review: Sony's best smartphone is also the most expensive
Sony's Xperia 1 is the first flagship smartphone with a 21:9 screen, but you'll find a handful of interesting features if you dig deeper Pros Superb triple camera 4K 21:9 screen looks lovely Performance is rock solid Cons Disappointing battery life Issues with video stabilisation If there's just one thing to take away from this […]
iPhone 6, iPhone 6 Plus and iPhone 5S won't get iOS 13 update
The next generation of software for your iPhone has been announced at WWDC 2019, but those still clutching onto older devices may be out of luck when it comes to snagging an iOS 13 update. Apple has confirmed that iOS 13 will be compatible with the iPhone 6S and above, which means two generations of […]
Mac Pro 2019 first look: release date, price and specs
Apple has finally unveiled a new Mac Pro at WWDC 2019, complete with the modern hardware that creatives and professionals have been demanding for years. The new Mac Pro has up to a 28-core Intel Xeon processor, and up to 1.5TB of 6-channel ECC system memory, meaning you should never run into any task that's […]
Google Stadia's big reveal of games and pricing is on June 6
Google Stadia certainly sounds great in theory, although the details aren't exactly clear. However, we do know that we'll learn a lot more about the streaming games service, including pricing, on June 6. As spotted by Android Police, Google has a teaser on YouTube noting that some news is just so big, it can't wait […]
AMD will share its graphics technology with Samsung
AMD stole the spotlight at Computex 2019, where it shared details on its third generation Ryzen CPUs and first Navi GPUs. But that's not the only big news AMD has in store. Today, the company announced a multi-year partnership with Samsung, in which AMD will license its Radeon graphics IP for use in Samsung smartphones […]
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Q: Redirecting printf C++ console output to C# This is my method which is called when I click on a button in my C# GUI program. It launches a very simple C++ console program that does nothing but prints out a line every second in a never ending loop.
private static Process process;

private void LaunchCommandLineApp()
{
    process = new Process();
    process.StartInfo.FileName = "SimpleTest.exe";
    process.StartInfo.UseShellExecute = false;
    process.StartInfo.RedirectStandardOutput = true;
    process.EnableRaisingEvents = true;
    process.StartInfo.CreateNoWindow = false;
    process.OutputDataReceived += process_OutputDataReceived;

    process.Start();
    process.BeginOutputReadLine();
}

This is the method to handle any output data received:
private void process_OutputDataReceived(object sender, DataReceivedEventArgs e)
{
    if (e.Data != null)
        Console.WriteLine(e.Data.ToString());
}

I do not see any output in my C# debug output...
But if i change the printf to std::cout, it will show the redirected message.
I am thinking if there's any way to show those statements using printf ?
FYI: my c++ code [EDITED working version]:
#include <stdio.h>
#include <Windows.h>
#include <iostream>

int main()
{
int i = 0;

for(;;)
{
    Sleep(1000);
    i++;
    // this version of printf with fflush will work
    printf("The current value of i is %d\n", i);
    fflush(stdout);

    // this version of cout will also work
    //std::cout << "the current value of i is " << i << std::endl;
}

printf("Program exit\n");
}

A: Thanks guys for all your inputs!
I think I would change all my printf to std::cout and std::endl for my C++ console program.


management principles for Risk managers.
Recurring 39%; Special Planned projects 35%; Ad-Hoc 29%.
It turns out that responding to ad-hoc demands was cited as the biggest reason for the expected increase in workload.
So how do risk managers save their precious time and achieve more results? Follow these 5 steps.
Principle 1: Allocate your time.
We can do many things, but not everything. Before doing anything, ask yourself how much time you're willing to invest in every activity you do. Write those shares of time down so you're able to reference them regularly. Then, stick to your time budget carefully investing the time in what matters and having the courage to let the less important stuff go. Don't be afraid to say no.
Our success and achievements are primarily determined by what we consistently invest our time in.
Principle 2: Focus Your Attention or use time boxing.
procrastinations is to use time boxing. The concept is really simple: define blocks of time to work on tasks. Instead of working on a task until it's done, you commit to work on it for a specific amount of time instead. When the end date is set it may not be changed. If the date is exceeded, the work is considered a failure and is cancelled or rescheduled.
Principle 3: Be effective or use Pareto principle.
Effectiveness is doing the things that get you closer to your goals. Efficiency is performing a given task (whether important or not) in the most economical way.
To find the right things you have to apply the Pareto or the 80/20 principle to your working environment.
80% losses come from 20% of the causes.
This means that if you have a list of ten items to do, two of those items will turn out to be worth as much or more than the other eight items put together.
2. Which 20% of sources are resulting in 80% of the desired outcome?
Based on your answers you can start prioritising your work and you will soon start realizing that you can achieve much more with less effort and stress.
Effectively delegating to other people is one of the most powerful activities which create value both for individuals and for organisation.
• Specify consequences (good and bad) or what will happen as a result of the evaluation.
Principle 5: Achieve work-rest balance and feel good about what you do.
Take your free time as seriously as our work time. It is very important to define clear boundaries between work and rest. Whenever you forget this, you end up in a very ineffective state. People are more important than things.
making sacrifices and not enjoying your life, what's the point of being productive?
private life. The challenge is not to manage time, but to manage ourselves.


text:
Q: Neural Network Output Grouping 0.5? I tried to write a Neural Network system, but even running through simple AND/OR/NOR type problems, the outputs seem to group around 0.5 (for a bias of -1) and 0.7 (for a bias of 1).
It doesn't look exactly "wrong"... The 1,1 in the AND pattern does seem higher than the rest and the 0,0 in the OR looks lower, but they are still all grouped so it's debatable.
I was wondering a) if there's some obvious mistake I've made or b) if there's any advice for debugging Neural Nets... seeing as you can't always track back exactly where an answer came from...
Thanks!
Mike

A: for a) it's impossible to tell without more information.
for b) the best way I have found is to have a pre-calculated set of vectors and weights for a small test version of my network architecture and to have some debug code that dumps the network state out to a csv file so I can look at it in Excel.
The forward (and backward) passes of your network should be completely calculable manually for a single pattern, and a known network initial state, so it's a good idea to have a candidate pattern, or a couple if you can bear doing it manually, fully enumerated for your tests.  It's not actually as bad as it sounds.
Doing this has the added advantage that it reinforces your understanding of how the algorithm works and will cause you to check your implementation again from a different standpoint.
good luck.
P.S. shameless plug on backprop blog entry here...

A: I answered a similar question and I posted some values you can test against:
Artificial neural networks benchmark
Use those values in order to test your neural network. Your outputs should match the values VERY closely, even if you're using different languages... you should be able match at least 6 digits after the decimal without a problem.


text:
Efforts to Mitigate Impacts of Offshore Wind Energy Development on NOAA Fisheries' Surveys
NOAA Fisheries and the Bureau of Ocean Energy Management share the final Federal Survey Mitigation Strategy for Northeast and Mid-Atlantic with plans to adapt the strategy for other regions.
Feature Story |
The Biden-Harris administration is committed to deploying 30 gigawatts of offshore wind by 2030. Credit: Wikimedia Commons
NOAA Fisheries and the Bureau of Ocean Energy Management (BOEM) continue collaboration in pursuit of responsible and rapid deployment of offshore wind in the United States through the final Federal Survey Mitigation Strategy to address anticipated impacts of offshore wind energy development on NOAA Fisheries' scientific surveys. The joint strategy underscores NOAA Fisheries and BOEM's shared commitment to advance offshore wind energy production responsibly while protecting marine biodiversity and promoting ocean co-use.
Offshore wind energy development has the potential to play an important role in U.S. efforts to combat the climate crisis and build a clean energy economy, and NOAA supports the Administration's goals of rapidly and responsibly advancing offshore wind energy in U.S. waters to mitigate climate change and bolster the blue economy. The Biden-Harris Administration set a goal of significantly increasing the nation's offshore wind energy capacity to 30 gigawatts by 2030 and another goal of deploying 15 gigawatts of floating offshore wind energy by 2035. Many states have also set ambitious renewable energy goals.
NOAA Fisheries' surveys are essential for collecting the data necessary to inform the sustainable management of our nation's fisheries, recovery of protected resources, conservation of habitats and ecosystems, and understanding the impacts of climate change. Offshore wind development can adversely affect NOAA Fisheries' surveys by precluding access to sampling areas, impacting statistical design, altering habitats, and interfering with survey operations. The joint strategy aims to avoid such impacts.
The final strategy incorporates public comments and identifies the essential components of mitigating impacts of offshore wind energy development on the surveys, as well as actions to accomplish the goals and objectives of mitigation. Mitigation of impacts to fishery and protected species surveys involves developing and deploying new approaches to surveying in and around offshore wind energy developments. The data generated from these new approaches must be comparable data to the impacted surveys and calibrated to current approaches to minimize the impact on the integrity of NOAA's long-time data series.
Nationally, NOAA Fisheries assesses the status of approximately:
450 fishery stocks
200 marine mammal stocks
165 threatened and endangered species (recognizing that some marine mammals are also endangered)
These assessments rely on more than 50 long-term, standardized surveys, many of which have been ongoing for more than 30 years.
While BOEM and NOAA have supported some efforts to address Northeast fisheries survey mitigation needs, full implementation of the Federal Survey Mitigation Strategy will require additional resources for mitigating the impacts of offshore wind energy development on federal fishery and protected resources surveys. The President's Fiscal Year 2023 budget includes an initial funding request to begin implementation of the Federal Survey Mitigation Strategy. NOAA Fisheries will continue previously funded work with BOEM, as well as collaborate with other partners and ocean users, to implement the strategy. NOAA Fisheries will also work to adapt this strategy to survey mitigation in other regions.
BOEM is the lead federal agency responsible for offshore energy exploration and development in the United States. NOAA provides ocean, atmosphere, and climate information and serves as a consulting federal agency and a permitting agency under the Marine Mammal Protection Act regarding takes of marine mammals.
Final Survey Mitigation Strategy
BOEM and NOAA Fisheries 2021 Announcement
White House Offshore Wind Fact Sheet
Farming Sea Scallops in Maine Offers New Opportunities and Builds Community Resilience
Video ,
Fishermen lowers sea scallops into the water. Credit: NOAA Fisheries.
Frequent Questions—Offshore Wind and Whales
Feature Story ,
Funding Opportunity Open for Chesapeake Bay Fisheries Research
A NOAA scientist retrieves a frame on which a video camera is mounted from the water. NOAA is researching the use of video to track the progress of oyster reef restoration projects.
Last updated by Office of Communications on December 05, 2022
Offshore Wind Energy Climate
View over the stern of the NOAA Ship Henry B. Bigelow, exiting the Cape Cod Canal headed east toward Provincetown, Mass. at the beginning of Leg 3 of the 2021 Northeast Fisheries Science Center fall bottom trawl survey. The two bridges spanning the canal are used by trains (background) and vehicle traffic (foreground). Credit: NOAA Fisheries/Katelyn Depot.
Evolving Science and Surveys in the Birthplace of NOAA Fisheries