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Tag: Action
HALLOWEEN IS HERE!: BLOOD PUNCH [2014]
Directed by Madellaine Paxson Written by Eddie Guzelian Starring: Milo Cawthorne, Olivia Tennet, Ari Boyland Blood Punch is a nice blend of horror and dark comedy… and romance, as the story revolves around a dangerous love-triangle. The plot seems simple enough, but this film… Continue Reading "HALLOWEEN IS HERE!: BLOOD PUNCH [2014]"
Category: 2014, Australia/New Zealand, FilmTags: 2014, Action, Ari Boyland, black comedy, Bluff Road Productions, Bounty Films, Dark Comedy, Deathgasm, Eddie Guzelian, horror, Madellaine Paxson, Midnight Releasing, Milo Cawthorne, mystery, New Zealand film, Olivia Tennet, psychological thriller, sci-fi
SUICIDE SQUAD [2016]
Posted on August 4, 2016 by Jordan Dodd
Directed by David Ayer Written by David Ayer Starring: Will Smith, Jared Leto, Margot Robbie, Jai Courtney, Jay Hernandez, Cara Delevingne, Viola Davis, Joel Kinnaman For the first time, I have been anticipating the release of a superhero movie. I love the fact that these aren't good… Continue Reading "SUICIDE SQUAD [2016]"
Category: 2016, FilmTags: #MUSTWATCH, 2016, Action, batman, Cara Delevingne, Dark Comedy, David Ayer, deadshot, harley quinn, Jai Courtney, Jared leto, Jay Hernandez, Joel Kinnaman, joker, killer croc, Margot Robbie, suicide squad, Super heroes, super viillains, Viola Davis, Will Smith
TRIPLE 9 [2016]
Directed by John Hillcoat Written by Matt Cook Starring: Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Woody Harrelson, Clifton Collins Jr, Aaron Paul, Kate Winslet, Norman Reedus John Hillcoat's follow-up to Lawless heads in a direction that the Aussie director isn't entirely familiar with, though the… Continue Reading "TRIPLE 9 [2016]"
Category: 2016, FilmTags: 999, Aaron Paul, Action, Anthony Mackie, Casey Affleck, Chiwetel Ejiofor, Clifton Collins Jr, cop, criminals, crooked cops, detective, Gal Gadot, heist, John Hillcoat, Kate Winslet, Matt Cook, Norman Reedus, Police codes, police officer, Russian mafia, thriller, Triple 9, Woody Harrelson
DEADPOOL [2016]
Directed by Tim Miller Written by Rhett Reese, Paul Wernick Starring: Ryan Reynolds, Morena Baccarin, T.J. Miller, Gina Carano Deadpool somewhat claims to be an anti-hero, a superhero movie that isn't like all the others. Yet for all its self-awareness, self-deprecation and constant shattering… Continue Reading "DEADPOOL [2016]"
Category: 2016, FilmTags: Action, deadpool, Gina Carano, Morena Baccarin, Paul Wernick, Rhett Reese, ryan reynolds, superhero movies, T.J. Miller, Tim Miller, X-men
Directed by Kevin Macdonald, Written by Dennis Kelly Starring: Jude Law, Scoot McNairy, Ben Mendelsohn, Grigoriy Dobrygin Jude Law's Scottish character in this submarine flick has to be seen to be believed. In the opening scene I did not recognise him at all, not… Continue Reading "BLACK SEA [2014]"
CHAPPIE [2015]
Directed by Neill Blomkamp, Written by Neill Blomkamp, Terri Tatchell Starring: Sharlto Copley, Dev Patel, Hugh Jackman, Die Antwoord Apart from being a two-hour long advert for a South African rap-group, this is an extremely confused movie that is a rollercoaster in (almost) all… Continue Reading "CHAPPIE [2015]"
Category: FilmTags: Action, AI, artificial intelligence, Chappie, Dev Patel, Die Antwoord, Hugh Jackman, Neill Blomkamp, rappers trying to be actors, robot, sci-fi, Sharlto Copley, South Africa
NIGHTCRAWLER [2014]
Directed and written by Dan Gilroy Starring: Jake Gyllenhaal, Rene Russo, Bill Paxton Despite knowing almost nothing about it, I have been looking forward to seeing this flick for a good half-a-year. The dark atmosphere of it must have drawn me in, as the… Continue Reading "NIGHTCRAWLER [2014]"
Category: FilmTags: Action, bill paxton, comedy, commerical news, crime thriller, dan gilroy, Dark Comedy, Drama, enemy, epilepticmoondancer, fear, force majuere, gone girl, interstellar, Jake Gyllenhaal, low-budget, modern media, nightcrawler, nightcrawling, prisoners, rene russo, satire, social commentary, Whiplash
THE GUEST [2014]
Directed by Adam Wingard, Written by Simon Barrett Starring: Dan Stevens, Sheila Kelley, Maika Monroe, Brendan Meyer, Leland Orser and Lance Reddick First off, a special shout out to Thy Critic Man who reviewed this flick a few months back and had me itching… Continue Reading "THE GUEST [2014]"
Category: FilmTags: Action, Adam wingard, black comedy, brendan meyer, cinematographer Robby Baumgartner, comedy, Dan Stevens, Dark Comedy, Keith Calder, lance reddick, leland orser, maika monroe, music by Steve Moore, not hollywood, Robby Baumgartner, Set Decoration by Susan Magestro, sheila kelley, simon barrett, Steve Moore, Susan Magestro, Suspense, tension, the guest, US independant film
THE SALVATION [2014]
Directed by Kristian Levring, Written by Anders Thomas Jensen and Kristian Levring Starring: Mads Mikkelsen, Eva Green, Jeffrey Dean Morgan, Eric Cantona, Mikael Persbrandt, Jonathan Pryce "A Danish western you say? Mads Mikkelsen you say? Well now… How could I say no?!" This is… Continue Reading "THE SALVATION [2014]"
Category: Film, ForeignTags: Action, Anders Thomas Jensen, bloody, danish, danmish western, denmark, Eric Cantona, Eva Green, Jeffrey Dean Morgan, Jonathan Pryce, Kristian Levring, Mads Mikkelsen, Mikael Persbrandt, western
SON OF A GUN [2014]
Directed by Julius Avery, Written by Julius Avery. Additional contributions: John Collee (additional material) Starring: Ewan McGregor and Brendan Thwaites "A game of chess… Is like a sword-fight. You must think first… Before you move." Chess is an endlessly intriguing game, both to play,… Continue Reading "SON OF A GUN [2014]"
Category: Australia/New Zealand, FilmTags: Action, Adam Arkapaw, ANIMAL KINGDOM, Australia, Australian Film, Brendan Thwaites, Cannes, Cannes Film Festival, checkmate, chess, debut, debut feature, Drama, Ewan McGregor, fatherly figures, heist, Jerrycan, John Collee, Julius Avery, Kalgoorlie, orphan, Perth, prison, real prison, Screen Australia, Screen NSW, snowtown, Suspense, thriller, true detective


…he hath made him to be sin for us, who knew no sin; that we might be made the righteousness of God in him.
CHRIST JESUS, in HIS human body, took what I deserve (GOD's Wrath) so that HE might give me what I don't deserve (GOD's Righteousness). GOD made HIS SON to be sin for me. In other words GOD THE FATHER punished HIS own HOLY SON as if HE had actually committed all the sins that I am guilty of (past, present, and future). And not only my sins, but the sins of HIS elect were laid on HIM. HE who is guiltless was a SUBSTITUTE for the guilty—Me! HE who is JUST became a SUBSTITUTE for the unjust—Me! And as my SUBSTITUTE, HE paid the price in full for all my sins. I am justified (innocent) by the precious blood of JESUS. He, CHRIST MY SAVIOUR, BY HIMSELF, purged my sins. THEY'RE GONE! GONE! GONE! Never to be remembered against me anymore. As one of GOD's elect, one of His blood-bought children, no charges can be laid to my account.


My house is an orchestrated cacophony. In the kitchen, Joy Division's "The Sound of Music" is blasting out of one Sonos wireless speaker. In the living room, Parov Stelar is doing his "electro-swing" thing from another. And in the family room, the TV, hooked up to both my computer and a Sonos "Playbar," is pounding out AWOLNATION's "Sail." I've got my iTunes library, my son's Spotify account and YouTube all playing at once -- on the same Sonos wireless stereo system.
But yeah, it's a little noisy, because in my rental the kitchen, living room and family room are all part of one big space. I'm doing this crazy multiplexing just because I can, not because it makes any kind of audio-listening sense. So, from the comfort of my iPhone app, I decide to "group" all my speakers together in "party mode" linked to the TV. Cacophony, be gone. PUMP UP THE BASS.
And I think, this is how it should be! This is what I've craved ever since I played that first MP3 on my crappy computer speakers back in the late '90s. High fidelity sound where I want it, when I want it, from any source I can think of. Finally. The promise of digital music, realized.
I wish my grandfather was around to hear it.
The sheer size of the package the FedEx guy dropped off at my doorstep one week ago was impressive enough. Then he said, "I've got two more."
I was flabbergasted, in that delightedly surprised way you feel when someone gives you a birthday present that you didn't even know you wanted but as soon as you see it you can't wait to play with. The progress of digital technology has conditioned me to expect that new music gear will be small. We listen to music on our phones, for goodness' sake. We go into raptures about Jamboxes that are the size of pencil boxes. Those big lumbering old speaker cabinets that may still be occupying corners in your mom's house are increasingly rare dinosaurs.
So, when I agreed to take a look at a review copy of the Sonos wireless stereo system, I was expecting something a little more restrained.
What I got was heavy metal.
Sonos sent me five discrete "components." A petite $49 "Bridge" that connects directly to your router via Ethernet. Two $299 wireless "Play:3" speakers, each about the size of a lunchbox. A $699 wireless "Sub" subwoofer that looks like modern art and feels like it is made out of lead. And, finally, the newest addition to the Sonos family tree, the $699 "Playbar," a stylish soundbar about 3 feet long and 6 inches deep that connects directly to your (newish) TV via an optical cord. Instant home theater.
As you can see, a full-fledged Sonos system does not come cheap. The complete Sonos system is not the alternative for the hipster who doesn't have more to call his own than a futon, a yoga mat and a smartphone. (Get a Jambox.) But if you've got the cash, and you care about your music, Sonos will make you happy. Of course, you aren't required to have all the components Sonos sent me. Personally, even though the Playbar made my TV sound fantastic, I could easily live without it (though I will surely miss it when I send it back). More to the point, if you compare the price of a Sonos system to the price, in 1984, of a top of the line receiver/amp, speakers, cassette deck and turntable ... well, being a hi-fi snob cost quite a bit back in the day, too.
But to fully appreciate my delirious baffled joy when I started unpacking the Sonos system, you have to know that for the last year, I have been living without anything I could call a real stereo. Since my house fire last summer, my old hi-fi has been in storage. I have a Windows computer with a few hundred gigs of songs in an iTunes library -- but no speakers! I've been reduced to listening to music from my phone plugged into a Sony docking station. Which is better than nothing, but not great. And certainly not what anyone would consider "high fidelity."
To go from such stereophonic paucity directly to a full-featured Sonos system was like being instantly transported from the Sahara desert to the Amazonian rain forest. The sudden drench of stimulation knocked my space time continuum awry. All the stereo equipment I'd ever cherished passed before my eyes. I could feel my grandfather -- a pioneering early adopter who had a cool old tube amp at the heart of his system when I first became tall enough to put a record on a turntable -- nodding in satisfaction. I heard my mother blasting Verdi on Saturday afternoons in Gainesville, Fla., from speakers that I dragged off to college with me, where they took up about a third of the habitable space in my dorm room. Most of all, I recalled the hodgepodge computer/stereo mashup that I had constructed over the last 15 years in my pre-fire house, an ungainly mess with cords snaking all over the place.
There's probably a German word for the fact that fans of technology and music are undoubtedly doomed to always yearn for something better. But as I contemplated the essential nature of the Sonos system, I realized that here was what, in theory, I had been looking for: a modular network that could adapt to what I already had, currently wanted, and might need in the future that I didn't yet have a clue I would crave.
Initial setup of my Sonos system was surprisingly simple. Each component needs its own power source, so the configuration is not completely "wireless," technically speaking, but getting the different components to talk to each other was a breeze. I downloaded the Sonos Controller app onto my Mac Air and followed the prompts. In minutes I was able to turn my TV into a full home theater. I regret the fact that when I turned on the TV, it was on a channel featuring the '70s band Styx playing "The Grand Illusion," but hear me when I say this: Sonos made Styx sound good. Sonos made Styx sound good!
You're not going to find out from me how the sound quality of Sonos wireless speakers ranks up against top-of-the-line Bose offerings or other elite audio hardware. All I can tell you is that what I heard was as good as I needed it to be. A few hours on Google convinced me that Sonos is well-regarded by people who make a living reviewing audio equipment. Sure, there's always something better, but my windows have been rattling for a couple of days now, and I just want more of the same.
In general, it all went swimmingly. Sonos is as much a software company as it is a stereo equipment hardware developer, and it shows. The integration of multiple music services into the system is impressive. Pandora, Rdio, thousands of free radio stations, Audible, last.fm, MOG, Rhapsody -- the world of streaming music plugs into Sonos like Lego blocks snapping together.
As you play with your mouse -- directing one playlist into the kitchen, the local radio station into the living room -- you start to see that the digital music lifestyle isn't simply more convenient than the old analog world -- it is in some profound ways deeply superior. Sonos at its most essential level is really just an interface between you and all the music that is out there in the world -- and all the stereo and computer equipment, old and new, that you might have in your home. Flexibility, thy name is Sonos.
Because my old system won't be obsolete. With the addition of another Sonos component, the CONNECT:Amp, I can plug my old speakers directly into the Sonos system. I can even take the output of my old receiver, connected to my turntable, cassette player and CD player, and pipe those sounds into the system. Once I get back in my house, I will be streaming my old ELO records off the turntable downstairs to the wireless speaker upstairs in my bedroom. When the record ends downstairs, instead of trudging down to the first floor to flip the vinyl, I'll just use my iPhone to switch the upstairs speakers to a different feed.
The modular upgradability of a Sonos system -- as Farhad Manjoo brilliantly noted a few years ago, Sonos components actually get better over time, as their software is upgraded and more services are added -- would have pleased my grandfather. He embodied a mild contradiction when it came to technology. He was both an early adopter and someone who didn't like to get rid of his old technology. I always marveled at his stereo system, because it was something of a museum of outmoded technology, patched together over the years in incomprehensible configurations. I didn't understand why someone who was obviously in love with new technology didn't just scrap his old junk, but if it was still working, he wouldn't get rid of it, no matter how Rube Goldberg-ian his contraptions became.
He would have grasped at once the brilliance of the Sonos system. Like the Internet itself, Sonos is a bridge between all kinds of disparate hardware and software sources. It embodies a truth that all audiophiles glimpsed when they first realized, a couple of decades ago, that music -- indeed, all forms of entertainment -- had become software. You can have it all.


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The Jubilee Cross Photo Gallery
One Spirit
About CCR
What is Catholic Charismatic Renewal?
Spirituality of CCR
Baptism in the Spirit
Healing Mass
Event Flyers
The Best Good News of All
There are no resurrection appearances in Mark's Gospel. Instead, the Gospel concludes with a scene where Jesus is not present. Why might Mark have ended his Gospel without Jesus appearing in the final scene?
The most probable setting of the Markan community is the city of Rome, perhaps a year after the destruction of the Temple in 70. If so, the intended readers of this Gospel had suffered seven years of severe persecution during which, according to Tacitus, "a great multitude" of Christians have been put to death just for being followers of Jesus. Mark was dealing with a community that had experienced the seeming absence of Jesus during that time. His people were asking why Jesus had not come and saved them from their suffering. "My God, my God, why have you abandoned me" (Mark 15:34) is really the prayer of those Roman Christians.
Therefore, Mark describes a post-resurrection scene where Jesus is absent, but who promises, through a messenger, that they will "see him" in the place of ministry (Galilee). The messenger speaks to the women who only came to anoint a dead body. "He is risen," they are told, and for emphasis "He is not here." It is no use looking for a dead body; the place of the dead is not where you will find Jesus of Nazareth. Neither should the Romans think of a dead Jesus. He is risen.
It is a pity that verse 8 is omitted from our liturgical reading at the Easter vigil. In that verse, the only disciples still around (the women), after being commissioned to tell the great news ("he is risen"), do not tell anyone. They just run away out of fear as the rest of the disciples had. The spread of the gospel had been put entirely into their hands. The reader of this text is meant to be alarmed at such an ending, and hopefully resolves not to do the same. The original readers still faced the possibility of execution for becoming known as Christians. Would they also run away out of fear? Perhaps Mark's strange ending did have the rquired effect, as the Gospel did spread in Rome, and the Church did survive.
What is outstanding in this message from Jesus to the disciples is what is not said. Throughout the Gospel, the disciples have done nothing but misunderstand. They have expected they would rule with Jesus when he became a mighty king like David (10:37), but at the first sign of trouble they have all run away (14:50), although they had all promised to die with him (14:31).
In particular, Peter gets a special mention. Peter has been cast by Mark in more or less the same light as Judas. Whenever the betrayal of Judas is mentioned, the denial of Peter is put right alongside it. The foretelling of Peter's denial (14:26–31) frames the Eucharist with the foretelling of the betrayal by Judas (14:17–21). Peter's trial (14:66–72) lies between the trial of Jesus before the Sanhedrin and the trial before Pilate, occupying centre place.
Peter was last mentioned in the text in 14:72, breaking down and sobbing in the darkness after denying he was "with Jesus" (he was called in 3:14 to be "with Jesus"), denying he was a follower of his, and denying that he was "a Galileen" (according to Epictetus, Christians were called "Galileans" into the second century). He denies everything.
Peter does not appear in the tomb scene; nor do any of the twelve. What might we have expected the message to them to say after their total failure to understand and believe in Jesus, and after they had deserted and denied him? What would we have said to them? What is outstanding in this, the earliest of the post-resurrection Gospel texts, is that there is not the slightest admonition from Jesus. There is no condemnation.
Instead, Jesus in effect says: "Come on. Let's get on with the job again. You will see me again when you preach the Gospel and heal the sick" (16:7). There is not the slightest criticism, and Peter is especially mentioned by name (" … even Peter").
Of course, the Roman Christians who read or heard this text knew the end of Peter's story. It was not the end for Peter when he denied Jesus — they knew how he was martyred in their own city just a few years before this text was written. The difference between Judas and Peter was not the severity of their sin (there is no real difference between betrayal and denial), but that Peter came back. That is the true quality of a disciple of Jesus. He came back and became the foundation of the Church, giving his life for the one he had once denied knowing.
Tacitus tells us that many had died during the persecutions by Nero through information given by some. Mark 13:12 told us that brother would betray brother, and children their parents. There must have been many who failed their moment of testing during the persecutions. For them, this resurrection news was the best news possible. Jesus, through this text, says to them: "I do not condemn you, no matter what your sin has been. Come and join me again in spreading the good news from God."
However, it is more likely that Mark was writing, not for those who had apostatised and left the Christian community, but for those Christians who had been faithful and remained in the community. The plea of this Gospel seems to be for them to realise that, if Jesus would welcome back the worst of sinners, then they, too, should be ready, without condemnation, to readmit to the community those who had failed and sought forgiveness. Were such repentant sinners waiting at the door and being rejected by Christians who regarded their sin as 'blasphemy' and 'unforgivable?' See how Mark has constructed the scene in 2:1–12.
The good news of Mark's Gospel is that Jesus welcomes everyone back, "even Peter." So, too, should those who model themselves on Jesus.
More in this category: « The Only Commandment of Jesus Receiving the Holy Spirit »
Psalms and readings from the Liturgy of the Hours, and Mass readings
Encountering God Thru His Divine Healing
Alight Family Fiesta - 21 September 2019
HEALING MASS - St Peter's Prayer Group - 17 June 2019
LADIES DAY - CCR Centre - 11 July 2019
PREPARING FOR PENTECOST - St Ita's Church - 1 June 2019
Healing Mass [Doveton]
21.07.19 7:00 pm - 8:00 pm
Healing Mass [Glen Huntly]
Healing Mass [Hoppers Crossing]
101 Holden Street, North Fitzroy 3068
The Centre is open from 10.00am to 4.00pm, Monday to Friday, except on public holidays.
Telephone: (03) 9486 6544 Fax: (03) 9486 6566 Email: centre@ccr.org.au

redpajama_set_name: RedPajamaCommonCrawl


At the time, wideo was completely different than what it is like today, especially for people like me – without any experience. Now, I am really happy to see templates available and simple animations like text movement. Wideo is a great platform, especially for not having any experience of animation, to jump right into making videos and being able to produce something with great quality. It is amazing! I was music captain, for the music department, looked for something new and different to present our content. All the people, like the head-master really liked it, and said i should continue animation – they thought it was really captivating. To get inspired, I did some research beforehand for content and ideas, the apple ad came out and their animations also really helped inspire me. Wideo is a great addition to Education Technology! Both teachers and students can benefit from creating videos for their classroom, to get the message across in a fun and enticing way.
We also like to show our video on sales presentations for companies to help them get an understanding of the company.
Tristan from Brisbane, Australia is a student and a devotee of everything design related. It was nearly 3-4 years ago when I made the wideo which was when Wideo was pretty much launched. I was looking for a new way to market music and wanted to create a multi-layered film which depicted the notion of creating music. So i jumped on board with animation because I think it can help present content with a new light. I wanted to present something new and different than the usual speeches or flyers. By combining words, music and basic moving shapes, I created a simple, yet energetic clip which strongly communicated a message. I have also made some other animations for companies which had a private software. The other great wideo I made is called "music as a journey".


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Le jardin Michelet est un espace vert du  de Paris en France.

Situation et accès
Le site est accessible par le 233 ter, rue de Tolbiac, par la rue Boussingault et par la rue Wurtz.

Il est desservi par la ligne  à la station Glacière.

Origine du nom

Historique
Le jardin est créé en 1989.

Annexes

Articles connexes
  de Paris
 Liste des espaces verts de Paris

Lien externe
 Jardin Michelet sur le site de la mairie de Paris

Michelet
Fondation en 1989

redpajama_set_name: RedPajamaWikipedia


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Secrets of Manhattan
Your Guide to Gotham's Hidden History
Secrets of Manhattan Walking Tours
The New Victory Theater at 209 West 42nd Street
By Steve Madeja on May 7, 2018 • ( Leave a comment )
If you're looking for family-friendly fare near Times Square, you can't beat the New Victory, one of the oldest theaters in New York City. You can recognize it by its sweeping staircase, which stands out from its surroundings like "a jewel set in pinchbeck" according to the New York Times. But believe me, it's more than just the architecture that makes this theater fascinating.
View from the Republic Theater stage (1900)
Balcony detail (1900)
This theater was the brainchild of Oscar Hammerstein (grandfather of the Hammerstein you're thinking of.) Five years before the New York Times moved uptown, he built the Theatre Republic near what was then still called Longacre Square. His first production, Sag Harbor, opened in 1899 starring Lionel Barrymore. Audiences were probably as wowed by the decor designed by Albert Westover of J.B. McElfatrick & Sons as they were by the performances.
Scene from the inaugural production of Sag Harbor (1899)
After a few years, Hammerstein leased the theater to competing impresario David Belasco. Belasco completely redesigned the theater, leaving only the domed ceiling, and humbly renamed it the Belasco Theatre.
Takin' care of business (1902)
He also added an enormous rooftop garden over both the Belasco and neighboring Victoria. At the Paradise Garden, guests enjoyed an outdoor theater, a three-tiered grand promenade, and a simulacrum of a Dutch farm where buxom milkmaids served glasses of cold milk. Entertainment included acrobats, magicians, jugglers, wire walkers, and a host of animal acts, including dancing horses, boxing kangaroos, and Augusta Rohoff's Flea Circus. It wasn't until 1914 when an act crossed the line. Belasco started showing "moving pictures," which Hammerstein thought cheapened the theater.
The Paradise Rooftop Garden – the Dutch village is through the central arch (1903)
Hammerstein sued, won, and returned the Republic to its dramatic roots. He earned a smashing success in 1922 with Abie's Irish Rose, which audiences loved and critics loathed. "People laugh at this every night," wrote Life's Robert Benchley, "which explains why democracy will never be a success." In fact, they laughed at Abie's Irish Rose for 2,327 performances over six years. Until 1975's A Chorus Line, it was the longest-running play in Broadway history.
It seemed like the Republic was on a roll, but the stock market crash drove the Hammerstein family into bankruptcy. Oscar's son Arthur was forced to sell the Republic in 1931. The new owners – brothers Bill, Abe, Herbert, and Morton Minsky – made a mint replacing respectable theater with burlesque, that bawdy mix of music, slapstick, and striptease that rose from the ashes of vaudeville during the Great Depression.
Minsky's Burlesque – 1930s
While the crash of '29 shuttered many legitimate venues, it was an absolute boon for burlesque. Dancers were easy to find – there was no shortage of women eager to don a g-string and join a kickline if it meant a steady paycheck. Audiences unable to spring five dollars for more upscale entertainments eagerly paid fifty cents for an hour of cheap thrills in all senses of the phrase.
Minksy's Burlesque opened on February 12th, 1931 (Lincoln's Birthday.) They advertised themselves as "Not a Family Show" with tantalizing titles like The Sway of All Flesh, Julius Teaser, and my personal favorite, Panties Inferno. Red Buttons trod the boards here, as did Abbot and Costello, cribbing "Who's on First" from a classic Minsky sketch, "He Works on Watt Street?" Between bits, "candy butchers" patrolled the aisles selling bon-bons, cigarettes, and dirty comic strips.
"Minsky's Chorus," by Reginald Marsh (1935)
Of course, all this was just preamble to the stripteases – fan dances, tassel dances, bump-and-grinds and the like. Big names like Georgia Southern and Margie Hart made between $700 to $2,000 a week. But none attracted a greater following than Rose Louise Hovick, better known as Gypsy Rose Lee. Audiences thrilled to her earnest demeanor and matter-of-fact approach to the striptease. Morton Minsky even installed a runway through the center of the auditorium to get her closer to her fans. When a reporter asked how she felt being naked in front of a packed house, Lee responded "I wasn't naked. I was completely covered by a blue spotlight."
You'll be swell! You'll be great! Gonna have the whole world on a plate!
By the mid-1930s, it seemed like everything was coming up roses for the Minskys. At their peak, the Minskys operated 16 theaters – not just in New York, but in Albany, Baltimore, Philadelphia and Pittsburgh. Variety condemned them for "the dirtiest coochers ever forced upon a stage or platform," which they wore as a badge of honor. Knock-offs sprouted up like weeds around Times Square, an area the New Yorker dubbed "Minskyville."
Meanwhile, government officials were appalled, especially Mayor Fiorello Laguardia and his license commissioner Paul Moss. Together, they waged "a bitter fight to the finish against the incorporation of filth." In 1939, the Little Flower succeeded in shutting down all burlesque houses in New York City in preparation for the upcoming World's Fair in Flushing. He even banned the name "Minsky" from future theaters just to rub salt in the wound.
The Minskys sold the burlesque house in 1941 to the Brandt Organization, who owned seven of the eleven movie theaters on 42nd Street. They converted Minsky's into a grind house, named the Victory in a fit of patriotic fervor after the bombing of Pearl Harbor. Cheap serials and second-run adventure films were ostensibly the Victory's bread and butter, but the promise of double- and triple-features at all hours of the night made the theater especially appealing to the homeless looking for a cheap place to sleep and gay hustlers turning an easy trick or two in the darkened balcony. The Victory's already-low standards for film slipped throughout the ensuing decades until it started showing XXX features in 1972, making it the first porn theater in Times Square. Instead of Sag Harbor and Abie's Irish Rose, audiences got Pussycat Ranch, All Night Orgy, and Hot Saddle Tramp.
Still, 3 movies for a $1.99?
Then in 1990, En Garde Arts produced Marc Wellman's Crowbar, a site-specific production set during intermission of the Republic's first show, Sag Harbor. Audiences sat on the stage as the action took place in the aisles, wings, balconies, and even trap doors of the Victory. Crowbar was the Victory's first legitimate theatrical performance in 60 years, and it sparked interest in reviving the long-neglected gem. Later that year, the Victory came under public ownership and underwent an $11.4 million restoration.
During renovation (1995)
The New Victory Theater reopened in 1995. The stage that once featured the likes of Lionel Barrymore, Lilian Gish, Mary Pickford, Gypsy Rose Lee, and Linda Lovelace had been restored to its former glory. In 2012, they even won a Drama Desk award for "providing enchanting, sophisticated theater that appeals to the child in all of us, and for nurturing a love of theater in young people."
PS – If you want to know more about this theater, check out Morton Minsky's memoir, Minsky's Burlesque. As funny as it is fascinating, I can't recommend it highly enough.
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text:
Q: LoadRunner Forms Authentication cookie expired While load testing using loadrunner all my virtual users are getting logged off from application after 30 min. Looking in detail came to know that authentication cookie is getting expired even though we have continuous activity performed by users.
Now we are trying to update the cookie explicitly after each action to prevent expiration, but not sure how server identifies that authentication cookie is expired. The cookie has only encrypted text and no explicit title mentioning expiry time.
What information in cookie should be updated in authentication cookie to prevent it from expiring?
Cookie Information:
Cookie:

.ASPXAUTH=66DD4AB74239F00D553BA9640D3AD3F284F47DEC315FD6789AE3FB8D67D2A46A4E89EDB45845C921A7557BD6B39A12EE07188D1009D581AA7AAF6743710653AE44EEF2733CC16082C595D7AE7C73D3E7E3D44BA1BAEEFEB1BF5F98B35C5F8429670FFDD5586E03BB3138C5B78945D82702BDD7C4;
  path=/; HttpOnly

A: Tell us how you are managing session state in your script.  Generally if you are cleaning all cookies and instantiating a new session for each iteration you should not run into this.  If you are attempting to maintain some sort of singular session state for the entire length of your test I could see how the server would potentially kick you out after your original session technically logged out of the system (as part of a business process).
Also, do you have explicit cookies noted in your script?   If so, you may want to consider commenting these statements out as LoadRunner will manage cookies automatically.   As part of your burn in consider running a singular virtual user for 30 minutes to an hour to see if you experience this on a single virtual user level.   It's a lot easier to fix for a single user and then projecting to load than it is to try and figure out what is happening across dozens or hundreds of users experiencing a similar issue.

A: From what I can gather the Server keeps track of the expiry time of the cookies, and it's also the server that updates the expiry time, meaning you as the client have no control over this.
I assume the flow is this:
The browser or LoadRunner Script will always send the cookie and the
server then verifies it's expiry time on the server side, redirecting
you to the login page if it has expired.

I've had this happen to me, and solved it by visiting a special page on the server that "updated the client session expiry time". Perhaps you have a similar situation?

redpajama_set_name: RedPajamaStackExchange


Bookings – Provisional books are held for 5 days only. Please ring to check availability.
The deposit of £40 per week* non refundable , stated on your Bookings Form, can be sent online or via post.
Outstanding balance must be paid 8 weeks before your arrival date.
Pets are welcome free of charge but must be declared on the booking form. Any pets declared on your booking form must not be left unattended, unless in a cage. Any pets that are found to be undeclared will incur a fine.
Lettings are from 14:00 on day of arrival. Tenant must vacate no later than 10:00 on the morning of departure.
Cancellation – In the event of a cancellation we first attempt to re-let. If successful, we will refund any monies paid to us minus your deposit. We also withhold the right to also deduct any expenses incurred for re-advertising the property.


It is said that good creativity needs good marketing; and what could be the better marketing than having the conversation between two wise men?
Vivek acknowledges Amish for having fantabulous marketing skills he is having; according to Vivek, marketing is necessary because if you are not able to pass on the message of yours to mass, then it serves no purpose. Vivek here tries to seek from Amish that his marketing strategy was the need based strategy or he didn't have any other option; Amish very beautifully explained that there are two different things – one is to make a movie or to write a book and other is to market them. When you are creating something then completely surrender to the process of creation, be schizophrenic and just follow your heart; but once when the marketing starts, be very much rational & pragmatic. According to Amish, he makes the marketing strategy document first (that's what he has learned in his MBA study & during corporate experience). You have to be rationale because the creation cannot be changed because it's sacred, so to do justice with your creation, you have to be rationale with your marketing commotions.
What is the message for that targeted market?
What is the media to reach to them?
Here, Vivek shared his experience of marketing his sensational film Buddha in a traffic jam where it was not being released and how he tried using social media and what kind of the experiences he had.
Amish, in favour of marketing, said that good marketing helps even bad products to be sold quicker. But to sustain in the market – you need both – good product & good marketing. Ethical marketing says that the product you market should fulfil the need of consumer (here, reader or spectator).
Find the full conversation video of Vivek & Amish above. To explore more stay connected with #IAmBuddha page – https://iambuddha.net/ where you can read so many such latest articles & blogs.


text:
JRM Vol.2 No.4 p. 219
Neural Networks and the Applications for Robot Control
Mitsuo Wada
Chief of Bio-dynamics Division Industrial Products Research Institute
It is well known that robots are being skillfully applied and with favorable performance in a variety of fields, for use in the Japanese manufacturing industry in particular, thanks to progress in robot technology. Today, robots are expected to accommodate men and in the near future be utilized in the field of home life in compliance with human beings. Pessimistically speaking, however, it is impossible to deny that conventional robots, such as teaching playback robots (which men must operate directly), are not able to play roles in the future as expected, so that the development of a new control system which is able to overcome conventional systems in performance ability is indispensable. In other words, flexible control systems by which robots are able to behave autonomously, with minimum human interference is urgently required. We believe that the following three concepts are indispensable for a robot to be equipped with flexibility. a) Manipulators/hands and lggs / wheek with human flexibility. b) Control of flexible and intelligent motions for control in manipulation/handling and locomotion; c) Flexible intelligence and a sense of judgement which permits the robot to execute motions autonomously, adapting itself to the requirements of the human environment. Solving these problems will require investigation into information processing, a study into the function of the brain and central nervous system of human and other living bodies. Thus the information processing theory about neural networks which simulate the functions of the brain has progressed rapidly to activate R & D on the application of motion control and speech processing which have made use of the conventional Neumann computer difficult to handle. Neural networks have the capacity of parallel distributed processing and self-organization as well as learning capacity. Its theory has provided an effective basis for materialization of flexible robots.	In the field of level b. and c. mentioned earlier, the neural network theory comprises a large potential to be applied to robots, so that attention is being focused on it. Nevertheless, information processing by neural network is not omnipotent for solving such problems. Presently, it is difficult for a neural network to solve problems which require complex calculations in robot control; for instance, such controls that take force and acceleration into account. Control of flexible robots which mobilize whole arms will require parallel processing of data obtained from many sensors and to control numerous degrees of motion. Therefore, it has become increasingly important for problem solving to combine such problems inherent to robots with parallel processing, self-organization and learning ability of neural networks. From this point of view, therefore, further promotion of R & D on the application technology of neural network for robots is important. These efforts will produce a new neural network-theory for robots and eventually permit autonomous motion. This special issue compilied articles related to applications of neural network to robots, which were produced in the above mentioned environment, from a review on neuromorfhic control, through dynamic system control, optimal trajectory, planning of motion for handling, manipulator locomotion and travelling, to problems in application systems. We hope these articles help our readers understand the present state of Japanese R & D and the application of neural network for robots, as well as new subjects possible for progress in the future. Finally, we gratefully acknowledge Prof. Toshio Fukuda (who contributed a review) and other contributors on their latest achievements.
Mitsuo Wada, "Neural Networks and the Applications for Robot Control," J. Robot. Mechatron., Vol.2, No.4, p. 219, 1990.


text:
Q: Perl regex: matching the first instance of a string after a given match I'm trying to parse a text file using perl regular expressions. Here's an example data set:
"Field1", "Field2", "Field3", "Field4", "Field5"
"val1-1", "\\path\to\val1-2.txt", "val1-3", "\\path\to\val1-4.ini", "val1-5.txt"
"val2-1", "val2-2", "\\path\to\val2-3.txt", "\\path\to\val2-4.ini", "val2-5.txt"
"\\path\to\val3-1.txt", "val3-2", "val3-3", "\\path\to\val3-4.ini", "val3-5.txt"

For each line of text, I'm trying to match the first instance of .txt file name; the bolded substrings in the above data set.
I thought this would work:
while(<INFILE>) {
    if(m/\\(.*?\.txt)"/) {
        print "$1\n";
    }
}

Output:
\path\to\val1-2.txt
\path\to\val2-3.txt
\path\to\val3-1.txt

but it doesn't because it will match the complete path, not just the filename.
Now this works:
while(<INFILE>) {
    if(my @matches = $_ =~ m/(.*?)"/g) {
        foreach (@matches) {
            print "$1\n" if(m/.*\\(.*?\.txt)/);
        }
    }
}

Output:
val1-2.txt
val2-3.txt
val3-1.txt

But I would suppose there must be a way to do this with a single match expression?

A: How about:
my $re = qr~\\([^\\"]+)"~;
while(<DATA>) {
    chomp;
    if(my @m = /$re/g) {
        say "@m";
    }
}

__DATA__
"Field1", "Field2", "Field3", "Field4", "Field5"
"val1-1", "\\path\to\val1-2.txt", "val1-3", "\\path\to\val1-4.ini", "val1-5.txt"
"val2-1", "val2-2", "\\path\to\val2-3.txt", "\\path\to\val2-4.ini", "val2-5.txt"
"\\path\to\val3-1.txt", "val3-2", "val3-3", "\\path\to\val3-4.ini", "val3-5.txt"

output:
val1-2.txt val1-4.ini
val2-3.txt val2-4.ini
val3-1.txt val3-4.ini

If you only want the first .txt, do:
my $re = qr~\\([^\\"]+\.txt)~;
while(<DATA>) {
    chomp;
    /$re/ && say $1;
}

A: Try this one:
while (<DATA>) {
    if(m/([^\\]+\.txt)"/) {
        print "$1\n";
    }
}

__END__
val1-2.txt
val2-3.txt
val3-1.txt

You don't need the  \ outside your capture group. Instead, look for everything that's not a backslash instead of just everything. Since you want the file to have a name in front of the .txt you want the + quantifier, not the *? which is match something or nothing but get as few as possible.


text:
Indianapolis and Vincennes Railroad
Richard M. Simpson, III	Uncategorized	 16 August 2019 19 November 2020 3 Minutes
In 1865, a new railroad was proposed to serve the state of Indiana. The face of the project was Major General A. E. Burnside, an Army officer during the Civil War. The project was to start by connecting Indianapolis to Vincennes. But this was only part of the pitch. Ultimately, the goal was to connect Indianapolis to the Gulf of Mexico, with extensions to the line through Cairo, Illinois, and points further south. Unfortunately, that goal was never realized.
When the Indianapolis & Vincennes (I&V) began construction in 1867, it obtained financial help from the Indianapolis, Cincinnati & Lafayette (IC&L) Railroad. That road offered that financing in return for a lease of the line. This would have created a route that branched from Indianapolis in three directions under one company – Cincinnati, Chicago and Vincennes. This lease would not last long.
In 1868, two companies associated with the Pennsylvania Railroad would also had financial help, being added as guarantors of the line. This would help complete the line between Indianapolis and Vincennes in 1869. The Pennsylvania Railroad interests would take control of the line in 1871. This ended the proposed lease by the IC&L. This would come into play later.
Due to the limited scope of the railroad as planned, the I&V was constantly on the verge of failure. It wasn't a very profitable property. But, with the exploitation of coal reserves near the line, the management decided to build a branch line from Bushrod to Dugger in 1884. This branch was completed in 1885. This helped a bit with the lines finances.
At Vincennes, the road would connect to several routes. What would become the Baltimore & Ohio line across Indiana from Louisville, Kentucky, to St. Louis, Missouri, was directly connected to the I&V. A line to the southwest, to St. Francisville, Illinois, would come to be owned by the Big Four. The other line, stretching from Evansville to Terre Haute would also traverse Vincennes. This would become part of the Chicago & Eastern Illinois.
On 01 January 1905, the Pennsylvania Company, a holding company that maintained the properties of the Pennsylvania Lines West of Pittsburgh and Erie (PL), consolidated the I&V, the Terre Haute & Indianapolis, the St. Louis, Vandalia & Terre Haute, the Terre Haute & Logansport, and the Logansport & Toledo into one overarching company: the Vandalia Railroad Company. This would help the survival of what was the I&V, given the, again, constant financial dire straits of the railroad.
12 years later, on 01 January 1917, the PL consummated further consolidations with the combination of the Pittsburgh, Cincinnati, Chicago & St. Louis Railway and the Vandalia to form the Pittsburgh, Cincinnati, Chicago & St. Louis Railroad (Panhandle). This made the I&V part of a system, under one corporate title, that connected the title cities, along with many other locations across Illinois, Ohio, Indiana, Pennsylvania and West Virginia. This further helped hide the questionable financial health of the I&V.
The Panhandle would be affected by the late 1910s-early 1920s elevation of the railroads in downtown Indianapolis. Due to this elevation, the connection of the I&V to Indianapolis Union Station would become a potentially expensive undertaking, since the elevation would require a lot of work at the location where the I&V entered the Indianapolis Union Railway tracks west of the station. This would lead to the construction of the Eagle Creek Connector, a track leading between the I&V near Maywood to the Panhandle St. Louis mainline just north of what is now the I-70 interchange with Holt Road. The original line was relegated to a branch line from the Indianapolis Belt Railroad to downtown Indianapolis.
In 1958, all of the leases that became the Panhandle were assigned, by the Pennsylvania Railroad, to the Philadelphia, Baltimore & Washington, part of the PRR mainline between New York City and Washington, DC. This would have no effect on the lines involved, as it was just a lease reassignment.
The major change would occur on 01 February 1968 with the merger of two major rival railroads: the Pennsylvania and the New York Central. This would make the I&V a corporate sibling to the railroad that first offered to help build the line, the IC&L. The IC&L had become part of the Big Four (the Cleveland, Cincinnati, Chicago & St. Louis Railway) on 30 June 1889. The Big Four would be aligned, and later absorbed, by the New York Central.
The I&V would ultimately make into the Conrail days in 1976. After that, Conrail would abandon sections of the original line at both the Indianapolis and Vincennes. What is left of the I&V is now part of the Indiana Southern Railroad.
Published 16 August 2019 19 November 2020
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text:
Q: libsox to convert wav file sample rate etc. EDIT: i want to use libsox to programatically convert a wav file's sample rate, audio format, channels, and etc.
in the libsox man page, there are a bunch of functions I can use but I'm clueless as hell on what to do. Can anyone give me a sort of steps on how to do it?
Help?

Can anyone please explain this?
   The  function  sox_write  writes  len samples from buf using the format
   handler specified by ft. Data in buf must be 32-bit signed samples  and
   will  be converted during the write process. The value of len is speci-
   fied in total samples. If its value is not evenly divisable by the num-
   ber of channels, undefined behavior will occur.

A: I'd recommend a combination of libsndfile and libsamplerate
http://www.mega-nerd.com/SRC

SRC provides a small set of converters
  to allow quality to be traded off
  against computation cost. The current
  best converter provides a
  signal-to-noise ratio of 145dB with
  -3dB passband extending from DC to 96% of the theoretical best bandwidth for
  a given pair of input and output
  sample rates.

http://www.mega-nerd.com/libsndfile/

*

*Ability to read and write a large number of file formats.

*A simple, elegant and easy to use Applications Programming
  Interface.

*Usable on Unix, Win32, MacOS and others.

*On the fly format conversion, including endian-ness swapping, type
  conversion and bitwidth scaling.

*Optional normalisation when reading floating point data from files
  containing integer data.

*Ability to open files in read/write mode.

*The ability to write the file header without closing the file (only
  on files open for write or
  read/write).

*Ability to query the library about all supported formats and
  retrieve text strings describing each
  format.

A: Well, I guess your question has something to do with the last sentence. If you have an interleaved buffer, the number of samples in the buffer has to be divisable by the number of channels, because this is the number of per-channel samples you will write. For example, let's say you have L and R channels; your data will be like this on the buffer:
[0] 1st sample - L
[1] 1st sample - R
[2] 2nd sample - L
[3] 2nd sample - R
...
[n-1] n/2-th sample - L
[n] n-th sample - R

Hope it helps.


During the next 6 months I will be doing a considerable amount of research regarding ruins and abandoned building across the state of Vermont for my 2nd semester studio project. Last week, I visited a 150 acre dairy farm, here in Williston. The farm was originally a stage coach inn. The building was built around 1850, and I am not a architecture historian, I would place the style with its symmetrical, simple, but elegant lines as Georgian. It has a large attic, stone cellar, four bed-rooms upstairs, two parlors and a small kitchen. The house didn't have running water inside for a bathroom until about 2000. The old outhouse and wood shed are still connected to the rear of the building.
Currently, the farm has a solitary inhabitant, Michael Bruce, who's family has own it since the early 1900s. I met with Mr. Bruce and he had some amazing stories to tell me about his family and their lives as dairy farmers. Its been a long run for the farm, but time and economics are taking their toll. Mr. Bruce has sold off all the heifers and the farm and the remaining buildings are on the market. I am grateful to him for the tour of the main building and the old dairy barn.
As far as he knew, no one had ever seen or heard a ghost on the property. But, Mr Bruce said that if I was able to talk to his great-grandfather, I might have gotten a different story.
I wanted to share a few of the processed shots with you. At the end of the project I will be exhibiting the photographs, with the hopes of compiling them all into a book about vanishing Vermont. I'm hoping as my readers you send me your feedback, comments and suggestions!
Thank you so much for visiting my blog. Please remember that I retain the rights to all original photography posted. While I am honored and flattered that you might enjoy the work enough to want to use or repost other places, please do not do so with out express permission from the artist.
The Art Hop is coming! The Art Hop is coming!
Yes, the 20th ART HOP is ALMOST here!
This three day event occurs during the weekend following the Labor Day holiday. It attracts over 30,000 visitors, which says a lot, especially when you consider that the population of Burlington is only 42,000 people! 500 participating artists partner with locale business and galleried in the South End to celebrating this unique cultural event.
You can find out more about the ART HOP and SEABA at their website.
I am so excited to be a part of the ART HOP again this year. I am honored to be able to show my work in THREE locations.
Hope Blossoms with be featured in this show. I am very proud to announce that piece won 2nd place in the juried book arts show: UNBOUND v.II @ the Artistree Gallery in Woodstock, VT.
Speaking of the Artistree Gallery. Adrian Tan asked me to create an outdoor "mini-installation" in a mail box for their upcoming show: POST OBSOLESCENCE. My new piece: bring the boys back home, has twist together nostalgia and metaphor. The show opens tomorrow, Thursday August 23rd. 6pm.
Artists have created interior "installations" within standard rural mailboxes leaving the exterior unadorned. The mail boxes have then been mounted along a walking trail loop on the gallery hillside. This event marks one of the last opportunities to view UNBOUND vol. II and is also an open house event at the community arts center.
Well, to say this summer has been a whirlwind is an understatement. I can't believe it's August already. Where has the time gone? I know a lot of my time has been invested with work, family and school. Just about a week ago, I was taking down a semester's worth a work at Vermont College of Fine Arts exhibit space, lovingly called "the ARK." I was really pleased with the feedback the faculty and the visiting "critters" had to give. So now, with one whole semester behind me, I can move into semester #2 of a 4 semester journey through graduate school.
This semester I will be focusing all of time and energy into researching ghosts and hauntings. Text and articles to read have been piling up on my desk. Movies to watch are queuing up. The purpose of this research is to better understand what it means for something to be "haunted." What makes a ghost, a ghost? How is it that some people see then and some people don't? Why do spaces and places, like old houses, cemeteries and abandoned buildings fill some people with dread and horror, when other people go hunting for spirits and spectral evidence? These are just a few examples of the ideas that I am exploring.
I will share more as they come.
One day late, the winner!
Nina will be receiving her sweet little gift in the mail soon. In the meantime stay tuned... I went ghost hunting yesterday and found some pretty cool stuff... I have some pictures to share in a bit.
....And one other piece of business...Not sure if you know this, but I am teaching three classes this year at ART-IS-YOU in Stamford, CT. With my busy schedule of family, school, work and art-making, I don't get to teach very often, although I really love doing it. Going to retreats like Art-Is and working one on one with students is one of the most amazing feelings. I am always humbled and honored to be able to contribute to the growth and development of people's artistic lives. I am really excited to be able to teach 3 brand new classes.
WHAT HIDES WITHING, In this class was created from a piece that I made called: the Litany Against Fear. It is an interactive piece and I am using the workshop to teach artists how to use their emotions and past to create artwork that heals.
RURAL ROOTS: Here in Vermont we have roots. In architecture, in the land and in history. We will explore what your roots are and use my favorite new material: BARN BOARD to create beautiful assemblage as homage to our ancestors, real or imaginary.
RECLAIM YOUR CHILDHOOD: This class was originally called "Poor Dolly". In is intended for you to use all those crazy bits and pieces of old dolls that you have been collecting. (I know you have been collecting them. They are so creepy and great, who can resist?) I started working with really odd and scary dolls a few years back when a friend asked me to participate in a show entitled "The Art of Horror". If you find something very beautiful in their detritus and decay and that their uncanny nature should be celebrated this is the class for you!
Alright! That's the whole kit and caboodle. Three days chock full of good clean art-making, lots of great ideas for you to kick start your studio practice and heaps and heaps of fun.
So. If you are on the fence and haven't signed up yet, ART-IS-YOU is a month and 1/2 away! You don't want to miss out on this. It is a great opportunity to re-charge your brain and be inspired. Take my advice.STOP MAKING EXCUSES. You owe it to yourself. Sign up today! October will be here before you know it.
OK. That's all I have for today, folks. Tomorrow, pictures of ghosts.... stay tuned.
I am finally back from my grad school residency and have some wonderful news to tell you.
I am so excited to announce that my new website is live and running! lorrainereynoldsvt.com. I am so thankful to the Vermont Arts Council for their funding. As well as Beth Robinson and Rick Levinson for their fantastic contributions to the site. I could not done with without them.
To celebrate this new exciting new accomplishment I am doing a sweet little giveaway.
I have one last little shrine left in the studio and I think it's time for it to find a new home.
So with a little help from you in spreading the word about my new site, it could be yours. All you have to do to enter to win is mention my new website and with a link to your Twitter, Tumbler, Blog or Facebook page. Then leave a comment here and you'll be entered in the drawing. Easy? Right?
I draw the winner's name at random next Sunday.
Thank you ever so much for your continued support! Have a great, creative week. And Good Luck!


Look around on your next plane trip. The iPad is the new pacifier for babies and toddlers. Younger school-aged children read stories on smartphones; older boys don't read at all, but hunch over video games. Parents and other passengers read on Kindles or skim a flotilla of email and news feeds. Unbeknownst to most of us, an invisible, game-changing transformation links everyone in this picture: the neuronal circuit that underlies the brain's ability to read is subtly, rapidly changing - a change with implications for everyone from the pre-reading toddler to the expert adult.
As work in neurosciences indicates, the acquisition of literacy necessitated a new circuit in our species' brain more than 6,000 years ago. That circuit evolved from a very simple mechanism for decoding basic information, like the number of goats in one's herd, to the present, highly elaborated reading brain. My research depicts how the present reading brain enables the development of some of our most important intellectual and affective processes: internalized knowledge, analogical reasoning, and inference; perspective-taking and empathy; critical analysis and the generation of insight. Research surfacing in many parts of the world now cautions that each of these essential "deep reading" processes may be under threat as we move into digital-based modes of reading.
We know from research that the reading circuit is not given to human beings through a genetic blueprint like vision or language; it needs an environment to develop. Further, it will adapt to that environment's requirements - from different writing systems to the characteristics of whatever medium is used. If the dominant medium advantages processes that are fast, multi-task oriented and well-suited for large volumes of information, like the current digital medium, so will the reading circuit. As UCLA psychologist Patricia Greenfield writes, the result is that less attention and time will be allocated to slower, time-demanding deep reading processes, like inference, critical analysis and empathy, all of which are indispensable to learning at any age.
Increasing reports from educators and from researchers in psychology and the humanities bear this out. English literature scholar and teacher Mark Edmundson describes how many college students actively avoid the classic literature of the 19th and 20th centuries because they no longer have the patience to read longer, denser, more difficult texts. We should be less concerned with students' "cognitive impatience," however, than by what may underlie it: the potential inability of large numbers of students to read with a level of critical analysis sufficient to comprehend the complexity of thought and argument found in more demanding texts, whether in literature and science in college, or in wills, contracts and the deliberately confusing public referendum questions citizens encounter in the voting booth.
Multiple studies show that digital screen use may be causing a variety of troubling downstream effects on reading comprehension in older high school and college students. In Stavanger, Norway, psychologist Anne Mangen and her colleagues studied how high school students comprehend the same material in different mediums. Mangen's group asked subjects questions about a short story whose plot had universal student appeal (a lust-filled, love story); half of the students read Jenny, Mon Amouron a Kindle, the other half in paperback. Results indicated that students who read on print were superior in their comprehension to screen-reading peers, particularly in their ability to sequence detail and reconstruct the plot in chronological order.
Ziming Liu from San Jose State University has conducted a series of studies which indicate that the "new norm" in reading is skimming, with word-spotting and browsing through the text. Many readers now use an F or Z pattern when reading in which they sample the first line and then word-spot through the rest of the text. When the reading brain skims like this, it reduces time allocated to deep reading processes. In other words, we don't have time to grasp complexity, to understand another's feelings, to perceive beauty, and to create thoughts of the reader's own.
Karin Littau and Andrew Piper have noted another dimension: physicality. Piper, Littau and Anne Mangen's group emphasize that the sense of touch in print reading adds an important redundancy to information - a kind of "geometry" to words, and a spatial "thereness" for text. As Piper notes, human beings need a knowledge of where they are in time and space that allows them to return to things and learn from re-examination - what he calls the "technology of recurrence". The importance of recurrence for both young and older readers involves the ability to go back, to check and evaluate one's understanding of a text. The question, then, is what happens to comprehension when our youth skim on a screen whose lack of spatial thereness discourages "looking back."
US media researchers Lisa Guernsey and Michael Levine, American University's linguist Naomi Baron, and cognitive scientist Tami Katzir from Haifa University have examined the effects of different information mediums, particularly on the young. Katzir's research has found that the negative effects of screen reading can appear as early as fourth and fifth grade - with implications not only for comprehension, but also on the growth of empathy.
The possibility that critical analysis, empathy and other deep reading processes could become the unintended "collateral damage" of our digital culture is not a simple binary issue about print vs digital reading. It is about how we all have begun to read on any medium and how that changes not only what we read, but also the purposes for why we read. Nor is it only about the young. The subtle atrophy of critical analysis and empathy affects us all. It affects our ability to navigate a constant bombardment of information. It incentivizes a retreat to the most familiar silos of unchecked information, which require and receive no analysis, leaving us susceptible to false information and demagoguery.
There's an old rule in neuroscience that does not alter with age: use it or lose it. It is a very hopeful principle when applied to critical thought in the reading brain because it implies choice. The story of the changing reading brain is hardly finished. We possess both the science and the technology to identify and redress the changes in how we read before they become entrenched. If we work to understand exactly what we will lose, alongside the extraordinary new capacities that the digital world has brought us, there is as much reason for excitement as caution.
We need to cultivate a new kind of brain: a "bi-literate" reading brain capable of the deepest forms of thought in either digital or traditional mediums. A great deal hangs on it: the ability of citizens in a vibrant democracy to try on other perspectives and discern truth; the capacity of our children and grandchildren to appreciate and create beauty; and the ability in ourselves to go beyond our present glut of information to reach the knowledge and wisdom necessary to sustain a good society.
The Norwegian test cited here says nothing about how the paging was set up on the electronic device, nor what kind of device was used.
Generally I don't like reading high concentration articles on the iPad because interaction with the notation features are very cumbersome compared to a paperback and a pencil for margin notation. But the digital version is extremely suitable for quotation and referencing in electronic communication and word processor environments.
My take on this is more in line with what I found in my own kids' reading skills. They're not getting the exposure kids used to decades ago. Numerous times I've had answers posted on the Tube that demonstrate the respondent had little to no comprehension skill, because they weren't taught to think about what was actually written. They make quick assumptions as to what they think is there. IMO there is a greater reading attention deficit behind the apparent differences in medium.
Skim is all that most articles deserve.
The higher the IQ of the reader, the less need to study what is writ.
We need to resist programming by literacy and video. These media are controlled by the same ethnic group. They decide what gets published and how and when. They suppress what threatens them, even passing laws. They have become too successful!
The neglect of the holistic right side of brain is being addressed?
Klokman, you have a good point!


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March 12Check here for cancelations and suspensions due to COVID-19
October 8Check out the College Visits calendar to see who is visiting BHS during lunch
October 8Watch the BHS announcements for important information
BHS Times
Bulldogs volleyball dominates on Senior Night
Emily Rada
The team huddles during a break to discuss their strategy.
Aidan Riley, Sports & Entertainment Editor
The BHS Volleyball team has been on a roll this season. The team is 8-2, and they have won five in a row. The Bulldogs have already beat some quality teams, and show no signs of slowing down.
On October 22, they played Plymouth during senior night. The game means a lot to their whole team. "This is the last time this exact group of girls get the chance to play a game on our home court, and it's the last time that the seniors on the team get to play on the home court ever again. When senior night comes, it really hits you that this part of your life is coming to a close," said senior Emily Podolski.
Junior Ashley Brown serves for Brighton.
The team played like it was their last home game ever. The energy was high, and after every point the team was either cheering for each other after a good play or encouraging each other after a mistake. The players on the bench were on their feet and supporting the players on the floor the whole time.
Before the game, the team honored the hard work of the seniors by saying some words about each one before the game. The underclassmen had shirts that said 'we love our seniors', and the seniors had shirts that said 'I am loved'.
The love for the seniors was felt at the end of the game, when up 23-19 in the third set, injured senior Solana Hickenson was put into the game to serve. Hickenson ended up serving the final two points to win the set. It was one of the most meaningful moments of the night, and perfectly capped off an amazing game for the entire team.
The Bulldogs ended up dominating, defeating Plymouth 3-0. "It meant a lot to end our last game on our home court with a win. All of us felt like we had left all that we had on the court and we were really happy with the outcome," said senior captain Celia Cullen.
Aidan plans to attend college after BHS. He is a member of the varsity boys basketball team, Peer 4 Peer, and is the sports and entertainment editor of...
We want to know who our readers are. What grade are you in?
12 (32%, 6 Votes)
9 (26%, 5 Votes)
BHS Pom Team places high in national competition
Winter Sports Update
Into a new season for the BHS Ski Team
Brighton Girls Basketball starting the season off hot
Snowboarders and skiers still await the opening of Mt. Brighton
Reminiscing on a historic football season
Brighton runners headed to Nationals
Brighton Varsity Gymnastics kicks off season with a successful home meet
Saying goodbye to fall sports and bringing in the new season
Brighton hockey's new team brings about new challenges
The Student News Site of Brighton High School


The Donkey's Stone: What is a good WYSIWYG HTML editor?
What is a good WYSIWYG HTML editor?
Tried vi(m), gedit, bluefish, and the winner is: OpenOffice.org!
To disable inline style statements, modify Tools > Options > Load/Save > HTML Compatibilty > set "Export" to "HTML 3.2".
Error: "Couldn't find index page for"


Focusing on a variety of literacies to meet community needs continues to be a top strategic priority in public libraries across the nation. Nineteen percent of adults living in the District of Columbia today have "below basic" literacy skills, according to the National Center for Education Statistics.1 In a concerted effort to address this community issue, the District of Columbia Public Library (DCPL) Adult Literacy Resource Center, headed by Marcia Harrington, provides a full range of information and services for adult learners, including tutoring services, practice GED tests, and a book reading club ("A Feel for Books") with themes and selections targeted specifically to adult learners. The resource center has established collaborative partnerships with the DCPL Foundation, a number of city agencies that primarily target literacy, and adult literacy providers.
DCPL's Adaptive Services Division (ASD), headed by Venetia Demson, is the D.C. community place for free access to inclusive reading formats and adaptive technologies that support literacy, education, and lifelong learning. The division provides a welcoming environment for the deaf community, the visually impaired, older adults, veterans, and injured service people through services that include a Talking Book and Braille library; adaptive technology lab and classes; sign language classes; cultural and informational programs; at-home reader service; and informal learning environments.
Several innovative literacy programs provided by ASD that I would like to highlight include DCPL's Braille Book Club for Kids. The club meets monthly at the library and attracts blind children from the greater D.C. metropolitan area. Elementary school-age Braille readers and adult Braille mentors read aloud from Braille books in hard copy and refreshable Braille-display formats. Children improve their knowledge of the Braille code and learn to read aloud expressively. They also socialize and share stories with each other. This DCPL program is a partnership with the Columbia Lighthouse for the Blind.
DC VIP Teens is a weekly after-school program for blind and low-vision teens who attend D.C. public schools. Sessions focus on aspects of the Expanded Core Curriculum in which teens practice orientation and mobility skills by traveling from school to the library or assigned cultural venue each week. The teens socialize over pizza and converse about books with blind teens from Pittsfield (Mass.), in monthly virtual book club sessions. They use technology to access books and training materials on self-advocacy, transition, careers, and financial literacy. The teens take a field trip to a local university each semester to learn about accessing disability support services at the college level. They enjoy audio-described visits to the museums, theaters, concert halls, and national parks. The teens benefit from homework help through the library's databases and a mentoring program led by a local university student Lions Club. DCPL's partners include the Friends of the DCPL for the Blind, and six other local and national agencies that serve the blind.
High-end gaming computer. This computer is the hub of the gaming library for people who are blind or have low vision. The computer allows gamers with disabilities to play PC-based games and Internet-based multiplayer games.
Microsoft Xbox console system. The Xbox console gives gamers with mobility disabilities access to the most popular games through the state-of-theart Adroit Switchblade controller. This switch-enabled adapted controller can be operated by hand, with a head pointer, an arm-mounted chin switch, or programmable light-touch finger switches.
Mobile Microsoft Xbox with Kinect. This system brings motioncontrolled gaming to library customers with mobility disabilities. Additionally, game makers are starting to imagine voice control into games, potentially adding another dimension of game control for gamers with disabilities.
iPad. A mounted gaming iPad and a head pointer are offered for those that may need it. In order to support this first-in-thenation accessibility arcade, DCPL partnered with AbleGamers.com to create an online community for gamers with disabilities in the Washington, D.C., area to meet, plan, and discuss gaming with the staff of ASD, and the larger worldwide AbleGamers community.
As public libraries continue to explore ways to promote literacy as essential to success in education and employment, PLA will continue to showcase all types of literacy programming @ your library!


SecsintheCity generated 104,000 applications in March. With Nintendo, London Zoo and The University of Sheffield all advertising their opportunities with us.
To view a full round-up from March, click here.
Want to learn more about our registered candidates? Download our Audience Insight Report.


text:
Q: Pagination for the LazyColumnFor Jetpack compose released with alpha version and I want to implement paging for the LazyColumnFor compose function. But I can't understand how we can do this because I can't find something to determine scroll position or something similar. Do we have this opportunity right now or this mechanism will be add in the future?

A: There is, as of the initial alpha release, not currently a way to detect scroll position.  It will be added later, though, with an API something like:
Column {
    val state = rememberLazyListState()
    Text("First item: ${state.firstVisibleItemIndex}")
    LazyColumnFor(
        (0..100).toList(),
        Modifier.fillMaxWidth(),
        state = state
    ) {
        Text("$it", style = currentTextStyle().copy(fontSize = 40.sp))
    }
}

This will (once that is merged) display the first visible scroll position in the list.


text:
Posts tagged Governor Greg Abbott
Texas Supreme Court Agrees to Take Up School Finance Trial
Jan 23rd - 11:17 am
Posted by Ryan Catanese in 84th Legislative Session
The state's highest court will rule on whether the way Texas pays for public schools is unconstitutional. The Texas Supreme Court announced Friday it will hear the state's sweeping school finance case.
More than 600 school districts sued the state back in 2011 after the legislature cut more than $5 billion in education funding. They argued budget cuts left them without the resources to meet academic standards, and said the gap between property-rich and property-poor school districts was too great. An Austin-based district judge ruled the cuts unconstitutional, but that ruling was appealed to the Supreme Court last year by then-Attorney General Greg Abbott.
Friday's court advisory also set up the timeline for the next step in the case. In all, there will be about six months for both sides to file briefs and replies before a date for an oral argument is set. That means the decision won't come until after the end of the legislative session. If the Texas Supreme Court upholds the unconstitutional ruling, the Legislature will have to come up with a new funding formula. That would require Governor Greg Abbott to call a special session.
Governor Greg Abbott


text:
Q: How to get div data from html displayed after appending from localStorage? How to get data from the var projectdata = localStorage.getItem('createProject') from row highlighted . I have console log the projectdata as below with multiple records:

.cleaner{float:left; padding:20px 10px 10px 20px;}
.rows{width: 1000px; min-height: 80px;}
.rowsAlt{
background-color: #edece8;
}

.cols{height: 100%; float:left;}
.col1{width: 100px; float:left; padding:20px 10px 10px 20px;}
.col2{width: 100px; float:left; padding:20px 10px 10px 20px;}
.col3{width: 200px; float:left; padding:20px 10px 10px 20px;}
.col4{width: 150px; float:left; padding:20px 10px 10px 20px;}
.col5{width: 150px; float:left; padding:20px 10px 10px 20px;}
.col6{width: 100px; float:left; padding:20px 10px 10px 20px;}

#row2{
margin-left:20px;
margin-top: 50px;
position: relative;
width: 90%;
margin: 20px 0px 0px 20px;
}

.highlight { background: #ebdb34 !important; }
.projecteditLink{
height:10px;
border-radius: 5px;
background-color: #42f56f;
color:#fff;
}

Sun

sun

lion,wolves

Nov-2019

Mr Rambo

Added Sun here

Edit Link

Moon Project

earth

lion,wolves

Nov-2019

Mr Simmer

Added Sun here

Edit Link

Simple Demo

earth

man,lion

Nov-2019

Mr Test

Added Simple here

Edit Link

// Would like to get text like Project One, SAAS, man, from the variable projectdata. How to achieve that ?
   var divCount = 1;
  $(document).ready(function(){
    document.getElementById('dashboardArea').innerHTML = "";
    var data = localStorage.getItem('saveToLocal');
    $('#dashboardArea').append(data);
  $("body").on('click', '#saveProjecttoDash', function(e) {
    var projectdata = localStorage.getItem('createProject');
    console.log("Same here:"+projectdata);
    // How to get data from  `projectdata` html ?
    $('#overlay').fadeOut(300);
    var someDiv = '

';
    $('#dashboardArea').append(someDiv);
    divCount++;
    var saveToLocalStorage = document.getElementById('dashboardArea').innerHTML;
    localStorage.setItem("saveToLocal",saveToLocalStorage);
  });

});

A: You can use this function to convert your string into an HTML object ( wrapped aroung a div )
function createElementFromHTML (htmlString) {
  var div = document.createElement("div");
  div.innerHTML = htmlString.trim();
  return div;
}

And then pick out required values with getElementsByClassName
const projectdata = localStorage.getItem('createProject');
const projectDataHTML = createElementFromHTML(projectdata);

const getInnerText= element => element.innerText;
const projectNames = [...projectDataHTML.getElementsByClassName('col1')].map(getInnerText);
const clientNames = [...projectDataHTML.getElementsByClassName('col2')].map(getInnerText);

Result
projectNames ["Sun", "Moon Project", "Simple Demo"]
clientNames ["sun", "earth", "earth"]

Similarly you can pick out other values as well using their classNames (col3, col4...)
To get highlighted row record
const [highlightedRow] = projectDataHTML.getElementsByClassName('highlight');
const highlightedProjectName = highlightedRow.getElementsByClassName("col1")[0].innerText;
const highlightedClientName = highlightedRow.getElementsByClassName("col2")[0].innerText;


For each cookbook, I will write one post highlighting "lessons learned" during the food photo shoots. I'm still working out how I would like to document my photography journey, SO if you have any questions or suggestions on what you'd like me to cover, leave me a comment on this post!
I am much, much, MUCH more comfortable framing and shooting food with my iPhone (currently a 6+) than a not-a-phone camera (since I've been doing it for yeeeeears). Check out my first food Instagram post from 2010! Yes, I scrolled back through 2382ish photos to find it, so you gotta look at it.
The very first food Instagram on @princesshungry y'all.
That blurrrrr. That yellow light. Yikes.
My first Instagram post was of this, if that tells you anything about what a nerd I am. Bonus points if you know how to use it.
To get out of my own way, I kept my photography objectives for the Every Grain of Rice cookbook project pretty simple. (There is something to be said about keeping it simple, stuuu…. Silly.) Here they are!
I got really frustrated at my tripod trying to shoot overhead (I may or may not have put it in time-out in another room). So, for Every Grain of Rice, I shot free hand for the entire shoot. I know, I know. It's best practice to shoot with a tripod, but right now I'm aiming for "good enough" to get me going, okay? I think one of the reasons that I had so much difficulty with the tripod was that I only had 2 prime lenses, and a zoom lens would make overhead shooting exponentially easier to finagle. I also don't have the setup to shoot tethered yet. Because $$$$. But I'll get there before the last cookbook. Pinky swear.
I completely underestimated how much time it would take to go from an overhead styled dish to a 45-degree angle shot. Actually, I pretty much underestimated how LONG every step of the styling and shooting process was going to take in general. (Mad props to recipe bloggers who post new content all the time!) I also didn't thoroughly consider the background for the 45-degree angle shots very well either. Oops, guess I'll give this a more thorough try for Salt, Fat, Acid, Heat!
Reading the whole cookbook takes me about 3 weeks. I read cover-to-cover and annotated throughout. I'm starting to feel like the project is my personal culinary school for home cooks, but with a lot less heat (literally and figuratively). I started with handwritten notes, but have moved to Evernote. I'll talk about more about Evernote in my next post about new systems I've put in place to make this whole process more efficient.
As I near the end of a cookbook, I start listing all the recipes I think would fit the different categories I discussed in my manifesto. Once I finish the cookbook, I narrow down the potential recipes list to 4-8 recipes and then create a master grocery list, brainstorm a shot list (and also a prop list), create a timeline for grocery/prop shopping, prep and cooking days, and finally go do all the things!
It takes me about 24-27 days to go through all the reading, prep for the shoot, actually cook and shoot, then post-shoot photo editing madness. Usually each day I spend about 4 hours working on PH tasks, except for cooking days, which end up being 8+ hour days. While long, they are delicious (as Mr. Hungry can attest).
Import For Every Grain of Rice, I shot about 500 photos, most of which were not so great.
Editing I didn't use any presets for my EGOR photos because I haven't figured out which ones I like or even how to use presets yet, but will be trying it out for my next cookbook project.
This required a plug-in to get a handle on the sheer volume of images I had culled for the soft launch of PrincessHungry. I started adding text to the alt-text field, but realize now I need to do more reading into SEO and how to properly fill in the different fields for each image. For now, I made sure to name my images better (instead of IMG0489.jpg, I give them more descriptive file names), include a caption/copyright, and filled in the alt text field.
This was like arts and crafts week in our home. And by home I mean condo with no balcony. I basically plastic sheeted off half our living room to paint the backgrounds because paint got EVERYWHERE. They look pretty cool though, eh? I found a blog post that had step-by-step directions on painting your own photo backgrounds so I decided to give it a shot. This gave me a nice relaxing break from the Lightroom YouTube videos and yelling at my tripod for being an uncooperative pain.
I also will be adjusting to shooting with the end of Daylight Savings in full effect. Fingers crossed it doesn't mean I have to start cooking at 7 AM!
What are some photography techniques or food styling tricks you'd like to see me try out? What advice do can you give to a newbie food photography/stylist?


text:
Universal Credit: The changes taking place in the second half of 2021
There were big changes made to Universal Credit in April but more changes are coming later in the year
Robin MurrayContent Editor
Jonathon ManningSenior Journalist
Changes are being made to Universal Credit (Image: Chris Ison/PA Wire)
The last 18 months have been a difficult time for many both from a personal perspective and a financial one.
With businesses being forced to close and many not being able to go to work, the coronavirus pandemic has meant more people have been relying on Universal Credit to meet their everyday expenses.
There has already been a number of changes made to Universal Credit this year and in April the Government ended a four-year freeze on payments, meaning people were able to receive more money than in previous years, according to BristolLive.
READ MORE: Landscape gardening firm which operates in Northamptonshire appears on BBC show Rip Off Britain
But while many of the changes to Universal Credit were made in April, there are still some important changes to the system being made in the second half of 2021 that you should be aware of.
Here are some of the changes taking place in the months to come.
Cut to Universal Credit in September 2021
During the pandemic, the Government introduced a temporary increase to Universal Credit payments, which saw people receive an extra £20 a week.
The payments were designed to help those who had lost their jobs or who had been unable to go to work due to lockdown measures.
Now that the Government has announced the coronavirus measures will be mostly lifted from July 19, it has decided it will end the temporary increase.
It means that from September those on Universal Credit will no longer receive the extra £20 a week.
Critics - including Conservative MPs, charities and think tanks - have said the move will hit the poorest the hardest.
Universal Credit debt repayments changing October 2021
Those starting a claim for Universal Credit can get advances to tide them over during the five-week wait for the first payment. An advance is an upfront loan up to the value of the first Universal Credit amount a person is expected to receive.
Advances have to be paid back in instalments from future Universal Credit over the next 12 months - but that repayment period is set to increase to 24 months from October 2021.
At the same time, the maximum level of deductions from a person's Universal Credit will reduce from 30 per cent to 25 per cent.
However, in the meantime the 30 per cent maximum deduction went up in April to take account of the increase in Universal Credit.
For those who are single and under 25, the maximum deduction of 30 per cent rose in April 2021 from £76.82 to £77.20 - and then the rate drops to 25 per cent from October, meaning your deduction would fall to £64.33 by our calculations
For those who are single and aged 25 or over, the maximum deduction of 30 per cent rose in April 2021 from £96.97 to £97.45 - and then the rate drops to 25 per cent from October, meaning your deduction would fall to £81.21 by our calculations
For joint claimants both under 25, the maximum deduction of 30 per cent rose in April 2021 from £120.58 to £121.18 - and then the rate drops to 25 per cent from October, meaning your deduction would fall to £100.98 by our calculations
Man hit over the head with metal object in Wellingborough daytime assault
Silverstone: One-way system to be put in place on A43 for F1 this weekend
Daybreakers


text:
On an extraordinarily high strength of a two-phase VT8-based titanium alloy heavy alloyed with zirconium
R.A. Gaisin, V.M. Imayev, E.R. Gaisina, R.A. Shaimardanov, R.M. Imayev show affiliations and emails
Citation: R.A. Gaisin, V.M. Imayev, E.R. Gaisina, R.A. Shaimardanov, R.M. Imayev. On an extraordinarily high strength of a two-phase VT8-based titanium alloy heavy alloyed with zirconium. Lett. Mater., 2016, 6(4) 327-332
@article{Gaisin2016,
author="R.A. Gaisin and V.M. Imayev and E.R. Gaisina and R.A. Shaimardanov and R.M. Imayev",
title="On an extraordinarily high strength of a two-phase VT8-based titanium alloy heavy alloyed with zirconium",
editorial's selection
A novel two-phase titanium alloy based on VT8 having the composition VT8-20Zr-0.1B (Ti-6.5Al-3.3Mo-0.3Si) (wt. %) has been considered in the present paper. It has been established that modifying with boron leads to refinement of prior β grains and α/β colonies by a factor of about ten and alloying with zirconium results in some additional colony refinement. Alloying with 20 wt. % of zirconium leads to decreasing the α+β→β transformation temperature by about 100°C that along with refinement of the as-cast structure improved the hot workability of the alloy. After multidirectional hot forging in the α+β phase field (Т = 800°С) and hardening heat treatment the strength of the ВТ8-20Zr-0.1B alloy at 20-500°C was found to be higher by 30-40% as compared with that of the VT8 alloy after the same treatment while retaining similar ductility of the alloys. This allows one to characterize the VT8-20Zr-0.1B alloy as an ultrastrong titanium alloy. For the VT8-20Zr-0.1B alloy the following tensile properties have been attained: σUTS = 1560 MPa and δ = 4% at room temperature, σUTS = 1230 MPa and δ = 14% at Т = 500°С. The specific strength reached at Т=500°С (σUTS/ρ ≈ 248 MPa/g×cm-3) is the highest even obtained at this temperature for currently known titanium alloys. It was revealed that water quenching from the β phase field led to the martensitic β→α″ transformation with retained β phase and subsequent ageing resulted in formation of ultrafine lamellar structure with a nanosized lamellae thickness that promoted achieving significant strengthening.
1. Metallography of Titanium Alloys. Ed. by N. F. Anoshkin. Moscow. Metallurgy (1980) 464 p. (in Russian) [Металлография титановых сплавов. Под ред. Н. Ф. Аношкина М. «Металлургия», (1980) 464 с.].
2. A. A. Il'in, B. A. Kolachev, I. S. Pol'kin. Titanium alloys. M. VILS-MATI. (2009) 519 p. (in Russian) [А. А. Ильин, Б. А. Колачев, И. С. Полькин. Титановые сплавы. М. ВИЛС-МАТИ. (2009) 519 с.].
3. C. Leyens, M. Peters, «Titanium and Titanium Alloys, Fundamentals and Applications». Weinheim, Germany (2003) 513 p.
4. A. I. Khorev. Technology of mechanical engineering. 6, 5 - 8 (2012) (in Russian) [А. И. Хорев. Технология машиностроения. 6, 5 - 8 (2012)].
5. R. Jing, S. X. Liang, C. Y. Liu, M. Z. Ma, X. Y. Zhang, R. P. Liu. Mater. Sci. Eng. A. 552, 295 - 300 (2012).
6. R. Jing, S. X. Liang, C. Y. Liu, M. Z. Ma, R. P. Liu. Mater. Sci. Eng. A. 559, 474 - 479 (2013).
7. J. Zhu, A. Kamiya, T. Yamada, W. Shi, K. Naganuma. Mater. Sci. Eng. A. 339, 53 - 62 (2003).
8. R. Srinivasan, D. Miracle, S. Tamirisakandala. Mater. Sci. Eng. A. 487, 541 - 551 (2008).
9. S. Roy, A. Sarkar, S. Suwas. Mater Sci Eng: A. 528, 449 - 458 (2010).
10. R. A. Gaisin, V. M. Imayev, R. M. Imayev, E. R. Gaisina. Letters on Materials. 5 (2), 124 - 128 (2015). (in Russian) [Р. А. Гайсин, В. М. Имаев, Р. М. Имаев, Э. Р. Гайсина. Письма о материалах. 5 (2), 124 - 128 (2015)].
11. V. M. Imayev, R. A. Gaisin, R. M. Imayev. Mater. Sci. Eng. A. 641, 71 - 83 (2015).
12. C. Lin, G. Yin, Y. Zhao, P. Ge, Z. Liu. Mater. Chem. Phys. 125, 411 - 417 (2011).
13. J. Soyama, M. Oehring, W. Limberg, T. Ebel, K. U. Kainer, F. Pyczak. Mater. Design. 84, 87 - 94 (2015).
O. S. Kashapov, T. V. Pavlova, V. S. Kalashnikov, I. P. Popov. Vopr. materialoved. , 27 (2019). Crossref
O. S. Kashapov, T. V. Pavlova, V. S. Kalashnikov, I. P. Popov. Inorg. Mater. Appl. Res. 11(6), 1291 (2020). Crossref
Microstructure and mechanical properties of α+β titanium alloy based composites fabricated in situ by casting and subjected to hot forging
V.M. Imayev, R. Gaisin, A.A. Ganeev, R.M. Imayev
Microstructure and mechanical properties of VT25U/TiB composite prepared in situ by casting and subjected to hot forging
R. Gaisin, V. Imayev, R. Imayev
Effect of thermomechanical treatment on the microstructure and mechanical properties of a novel heavily alloyed nickel base superalloy
V.M. Imayev, S.K. Mukhtarov, A.V. Logunov, A.A. Ganeev, R.V. Shakhov, R.M. Imayev


Next message: [Humor] What would a father do for his son?
pink sheets. They were surrounded by pink bars and pink walls.
inmate, who did not want to be identified.
''You can make that two,'' another inmate said from a different cell.
''You can probably make it three or four,'' the inmate added.
tempers and emotions cool in a jail that is tiny by today's standards.
the Mason County Jail, Low said, it's a success.
of San Angelo. The jail is in Mason, the county seat.
fights between inmates in the jail since it was painted.
some choose to sit inside because they don't want people to see them.
fact, it might be a better museum than a jail, he said.