When I'm feeling a bit sad or maybe stressed out about something, I tend amongst other things to write, as it's an activity which allows me process my thoughts and enjoy the catharsis of committing them to paper. I might write a little poem in my notebook, a rambling stream-of-conscience essay on my phone, or just a short bit of fictional prose. What I never seem to do though is publish or share such ramblings in any way, and so I'm here with a more reflective post than usual in which I hope to do just that.
You'll all know by now that five months ago I permanently upped sticks and made the move from a life in the north of England to work and live the big city life in Spain's capital, Madrid. People have commented on that it was a big decision to make, but in all honestly I never really thought too much of it, as I seem to be someone who gets worked up over the small things instead of any big decisions or changes.
I seem to be someone who gets worked up over the small things instead of any big decisions or changes.
As much as I loved my time in Leeds with all my friends, and despite years of happy memories living over the border in Burnley, I always knew that I wanted a change of scenery from Leeds, and that Burnley didn't really have anything to offer a budding designer, so I always wanted to move away in some way. What I never really expected was to find myself enchanted by Madrid after my first visit back in 2015, but I returned home determined to at least bag a short stint of work experience there during my placement year at university. I managed to do just that when I was offered a six month internship with Erretres starting in February 2016, as most of you probably know.
So now we get to the juicy bit: what is it like to pack a bag and move abroad to start work?
I remember I was in Madrid and ready to leave for Barcelona when I got the news, which was just in time as I'd arrived with a bag full of portfolios ready to knock on some studio doors. After binning those and enjoying a rather more relaxed trip, I arrived home with the pressure of packing six months worth of my life into a 20kg suitcase in just over three days. What was I to take?
It wasn't the first time I'd left home, having left Burnley for Leeds two years earlier, but this time I couldn't just ask my mum to drive over with the frying pan and pyjama bottoms I'd forgotten.
So there I was, at the ripe old age of twenty, trying to decide between packing a towel or another pair of trainers. It was an exercise on trimming down, but a challenge I quite enjoyed, which may be partly why I am recently trying to lead a minimalist lifestyle (which I shall be talking about in another blog post soon no doubt). I remember wondering how on earth I was going to survive without my camera tripod, but being hefty it had to be left out, and then before I knew it I'd zipped it up and I was (kind of) ready to go.
I remember that I was still surprisingly calm, the packing had been relatively smooth, and the only thing on my mind was trying to squeeze in visits to see all my friends and family before I boarded my one way flight. Despite this feeling of relative peace, I didn't get a wink of sleep the night before flying, but I still can't say that I was upset or panicking even as I waved goodbye to my family at the airport. It was sad to be leaving them, but we'd already talked about them visiting and I was reeling in the joy of being offered a job at a company I admired, so the overriding feeling was definitely excitement: I was ready for the adventure.
I think that first night of being in Madrid was when the reality of the situation began to set in, once I'd found my way to the hostel I'd be staying in for a fortnight. I had a chat with the lady working on the reception for a good while, but soon I closed the door behind me and suddenly I was alone. It was once I was completely alone that I realised the gravity of the situation I had just flung myself into; but that isn't to say that I panicked, I'd say it was more bewilderment that anything. As ever I had a list of what I had to do the next day, so I felt calm in knowing I had something to keep my mind occupied.
I couldn't just ask my mum to drive over with the frying pan and pyjama bottoms I'd forgotten.
The panic really hit the day after that: my first day at work. From their website and online communication, I had assumed that Erretres would work in a mixture of Spanish and English, and Esther who was the first person to arrive and greet me spoke to me in English, so I had relaxed a little bit. In this case then you can imagine my shock when after a few minutes she said she was going to switch to Spanish as I'd have to get used to it, and suddenly as the office began to fill and as people began to greet me, I realised that I'd inadvertently thrown myself into a working environment where Spanish was pretty much the only language used.
The first thing on the agenda was (and still is) a planning meeting to organise the team, and it was during this that the panic set in – I understood barely anything. A team of 15 or so people talking over one and other and laughing at jokes I hadn't understood was disconcerting to say the least, but I had in my hand an overview of the plans, so I decided I would do my best to try and figure out what was what as the day wore on.
Throughout the next few weeks I can't really report that things got any easier, and I'd be lying if I said that some severe doubt had set in. I wondered if I'd over-faced myself, as starting one's first professional job is a challenge enough without it also being your first time ever properly using a language that you'd stopped learning at college two years prior. Life outside the office brought with it as many trials and tribulations as it did within, as I didn't understand how healthcare worked, what opening times were, how to order food, how to be polite, and how to be sure not to upset people. There was also the challenge of meeting new people and making new friends, something which always makes me anxious regardless of where I may find myself.
I can't say exactly when or how it happened though, but at some point I found that I had inadvertently gotten into the groove of things. I had a small network of friends, which was enough for me as a rather introverted being, and having being exposed to Spanish pretty much 24/7 I was beginning to pick up the lingo. Things were going well until I was struck down by a string of illnesses, which brought with them the first moments of panic as I realised I didn't have access to a GP, and wasn't living with people who could take time to take care of me should I need it.
This began quite an anxious period of my six months in the city, as during a visit to the hospital due to chest pain they found that my blood pressure was high. This only served to make me more nervous about my health, and so even though work was a lot of fun and the weather was gorgeous, I often found myself too preoccupied to really kick back and enjoy myself.
It was a shame really then that the time around when I began to feel much more relaxed was also just as I was due to return to England. I was really upset to be leaving the people at Erretres behind, but equally I was glad to be heading back to the familiarity that England offered, not to mention the luxury of being looked after by my parents for a bit once more.
My final year of university then ensued, and as stressful and crazy as it was, it felt quite tame as I was once again reunited with all my friends and only a few hours away from home. Before I knew where I was I was being called on to the stage during my graduation, and I found myself in talks with Erretres to return towards the end of the year.
You all know by now how that story ends; as September came around I accepted a full time job at the company and the cycle of preparations repeated itself, although this time it felt slightly different. A certain carefree attitude can be adopted when one knows that one is to return after a certain period, but this time I knew that I was leaving for an indefinite period of time, and that felt rather more scary. Once again though I had already booked a badly timed holiday just before I was due to move, this time to Lisbon with my sister, so that served to take my mind off things for a bit.
Once I'd used my experience living there for six months to better guide my packing this time, I found myself zipping up my trusty battered suitcase once more and lying in my bed eyes wide open for the entire night. This time I was much more worried in certain ways, as it felt like a much more impactful and permanent decision, but also less worried, as the fear of the unknown was greatly quelled by the knowledge that I'd be returning to an office full of people I knew.
So let's talk about the here and now.
Right now I'm approaching the six month mark since I moved out here to work, which is the same amount of time that I spent here back in 2016, but things this time do feel quite different. The culture shock (language, working hours, food) definitely didn't hit me so hard this time around, and as I said, moving back to an office full of people I already knew felt like a return to normality more than it did a drastic change of scenery.
Also this time I think there's a sense of freedom, almost a sense that I have nothing to loose. Instead of a six month intern contract, I have an indefinite one. As I now know the city, I have been able to find more permanent places to stay instead of moving around every month or so. I know that my parents would take me back in should I ever need to return home, and so I don't feel so boxed in by restrictions.
I think there's a sense of freedom, almost a sense that I have nothing to loose.
With the freedom to take holidays and return to the UK, as well as knowing that I can leave whenever I want, I did wonder if I would become more susceptible to do just that – run back to the UK when difficult problems arose. It seems to have actually had the opposite affect however, as with the calmness that knowledge brings I feel much more ready to tackle such problems as they arise, rather than panicking that they might spiral into a much bigger issue.
I do miss England in many ways, especially friends and family, but with FaceTime and Messenger just a few taps away I never feel too out of the loop. Sometimes I feel like I could kill for mum's slap-up Sunday lunch complete with lashings of gravy, but I can wait to return home for one of those – a few rounds of tapas works nicely to fill that gap for now.
And so, as much as I worry that I may have focussed somewhat on the negatives of my stint here two years ago, it can't have been so bad, as I did put all my energy into making sure I came back. I have no regrets about either of the decisions, as my first time here served to teach me a lot about truly independent living, and having moved back I am having the time of my life.
If anybody by any chance is considering such a move for work, then I'd say just go for it. For me the joys always outweighed the trials and tribulations, even if I didn't see it as such in the moment, and the whole experience has served to help me grow in many ways. It might not be the conventional way to start advancing one's career, but I'm having loads of fun while still learning so much every day, and I wouldn't have it any other way.
PS: I lied when I said I have no regrets – I regret not packing a lifetime's supply of pork pies in my bag before I left. You don't know what you have until it's gone.


The following is a list of collections held by the MoMA Archives.
If the desired collection is known, researchers may click on a collection's title to access its finding aid. Finding aids serve to assist the researcher in requesting items from the collection by providing a summary of a collection's history and arrangement, information about its creator, and an inventory of its contents.
To search across all finding aids for a specific name, term, or phrase, use the search box below.
Please note that this collection is a promised gift and not held within the Museum. For access to the papers, please use the finding aid to select the relevant folders and then contact The Museum of Modern Art Archives via our contact form. The MoMA Archives will then forward the request for access to Mrs. Elaine Rosenberg for response. Access to the papers is provided at the office of Mrs. Rosenberg, located at 20 East Seventy-ninth Street, Manhattan.


text:
Q: How can I fix a pointer error in C? I am starting to learn about pointers in C.
How can I fix the error that I have in function x()?
This is the error:
Error: a value of type "char" cannot be assigned to an entity of type "char *".

This is the full source:
#include <stdio.h>
#include <stdlib.h>
#include <string.h>
#include <stdarg.h>

void x(char **d, char s[]) {
    d = s[0]; // here i have the problem
}

void main() {
    char *p = NULL;
    x(&p, "abc");
}

A: In function x() you pass d which is a char ** (a pointer to a string pointer), and char s[] (an array of char, passed as similarly to a pointer to char).
So in the line:
d = s[0];

s[0] is a char, whereas char **d is a pointer to a pointer to char. These are different, and the compiler is saying you cannot assign from one to the other.
However, did your compiler really warn you as follows?

Error: a value of type "char" cannot be assigned to an entity of type "char *"

Given the code sample, it should have said char ** at the end.
I think what you are trying to make x do is copy the address of the string passed as the second argument into the first pointer. That would be:
void x(char **d, char *s)
{
    *d = s;
}

That makes p in the caller point to the constant xyz string but does not copy the contents.
If the idea was to copy the string's contents:
void x(char **d, char *s)
{
    *d = strdup(s);
}

and ensure you remember to free() the return value in main(), as well as adding #include <string.h> at the top.

A: A more proper way would be to use strcpy:
#include <stdio.h>
#include <stdlib.h>
#include <string.h>
#include <stdarg.h>

void x(char **d) {
    *d = malloc(4 * sizeof(char));
    strcpy(*d, "abc");
}

int main() {
    char *p;
    x(&p);
    printf("%s", p);
    free(p);
    return 0;
}

Outputs: abc

redpajama_set_name: RedPajamaStackExchange


text:
using System;
using System.Linq;
using System.IO;
using System.Threading;
using System.Collections.Generic;

using Vinco.Uploader.Handlers;
using Vinco.Uploader.Tasks;
using Vinco.Uploader;
using Vinco.Uploader.Util;

namespace ConsoleClient
{
    class Program
    {
        private string _uploadFromPath = @"E:\_DevelopmentResources\";
        private string _validateToPath = @"E:\_Log\Uploads\{0}";
        private string _invalidResults = @"E:\_Log\Invalid\{0}";

        private Uri _uploadUri = new Uri("http://uploader.vincoss.com/upload", UriKind.Absolute);
        private Uri _cancelUri = new Uri("http://uploader.vincoss.com/cancel", UriKind.Absolute);

        private int _totalFilesCount;
        private int _uploadedFilesCount;

        static void Main(string[] args)
        {
            new Program().UploadFiles();

            Console.Read();
        }

        #region Upload methods

        private void UploadFiles()
        {
            // Find files
            IList<string> files = files = GetFiles(_uploadFromPath).ToList();

            _totalFilesCount = files.Count();

            Console.WriteLine("Found total files : {0}", _totalFilesCount);

            // Start uploader
            ScheduledTasks.Instance.Run();

            int runningUploads = 0;
            while (runningUploads < _totalFilesCount)
            {
                int batch = runningUploads - _uploadedFilesCount;

                if (batch < 50)
                {
                    string file = files[runningUploads];
                    try
                    {
                        // Get file to upload
                        var info = new FileInfo(file);
                        var fileWrapper = new FileInfoWrapper(info);

                        // Create upload item
                        var uploadItem = new UploadItem(fileWrapper);
                        uploadItem.ProgressChanged += UploadItem_ProgressChanged;
                        uploadItem.UploadCompleted += UploadItem_UploadCompleted;

                        // Create upload handler
                        var handler = new ChunkedHttpUploader(0)
                        {
                            UploadUri = _uploadUri,
                            CancelUri = _cancelUri
                        };

                        // Create upload task
                        var task = ScheduledTasks.Instance.CreateTask(handler, uploadItem);

                        // Add task into schedules
                        ScheduledTasks.Instance.Add(task);
                    }
                    catch (UnauthorizedAccessException ex)
                    {
                        Console.WriteLine(ex.Message);
                    }
                    catch (IOException ex)
                    {
                        Console.WriteLine(ex.Message);
                    }
                    catch (Exception ex)
                    {
                        Console.WriteLine(ex.Message);
                    }
                    runningUploads++;
                }
            }
        }

        private void UploadItem_ProgressChanged(object sender, EventArgs e)
        {
            UploadItemBase uploadItem = sender as UploadItemBase;

            Console.WriteLine();
            Console.WriteLine("***** Progress");
            Console.WriteLine("Name:    {0}", uploadItem.Name);
            Console.WriteLine("Length:  {0}", FileHelper.FormatBytes(uploadItem.Length));
        }

        private void UploadItem_UploadCompleted(object sender, EventArgs e)
        {
            Interlocked.Increment(ref _uploadedFilesCount);

            UploadItemBase uploadItem = sender as UploadItemBase;

            // Show results
            Console.WriteLine();
            Console.WriteLine("***** Completed");
            Console.WriteLine("Name:    {0}", uploadItem.Name);
            Console.WriteLine("Length:  {0}", FileHelper.FormatBytes(uploadItem.Length));
            Console.WriteLine("Status:  {0}", uploadItem.Status);
            Console.WriteLine("Elapsed: {0}", uploadItem.Elapsed);
            Console.WriteLine("Message: {0}", uploadItem.Message);

            // Get paths
            string originalFilePath = uploadItem.FileInfo.FullName;
            string toPath = string.Format("{0}-{1}", uploadItem.Id, uploadItem.Name);
            string uploadedFilePath = string.Format(_validateToPath, toPath);

            // Compare uploaded file to original
            if (uploadItem.Status == FileUploadStatus.Complete)
            {
                bool result = FileEquals(originalFilePath, uploadedFilePath);

                if (result == false)
                {
                    File.WriteAllText(string.Format(_invalidResults, toPath), originalFilePath);
                }

                Console.WriteLine("Valid:   {0}", result);

                // Remove the file
                File.Delete(uploadedFilePath);
            }

            Console.WriteLine("Total Files Uploaded: {0} of {1}", _uploadedFilesCount, _totalFilesCount);
        }

        #endregion

        #region Compare files

        private bool FileEquals(string leftFileName, string rightFileName)
        {
            using (var left = new FileStream(leftFileName, FileMode.Open, FileAccess.Read))
            using (var right = new FileStream(rightFileName, FileMode.Open, FileAccess.Read))
            {
                return CompareStreams(left, right);
            }
        }

        private bool CompareStreams(Stream leftStream, Stream rightStream)
        {
            const int BUFFER_SIZE = 4096;
            byte[] left = new byte[BUFFER_SIZE];
            byte[] right = new byte[BUFFER_SIZE];
            while (true)
            {
                int leftLength = leftStream.Read(left, 0, BUFFER_SIZE);
                int rightLength = rightStream.Read(right, 0, BUFFER_SIZE);

                if (leftLength != rightLength)
                {
                    return false;
                }
                if (leftLength == 0)
                {
                    return true;
                }
                bool result = CompareBytes(left, left.Length, right, right.Length);
                if(!result)
                {
                    return false;
                }
                if (leftLength == 0)
                {
                    return true;
                }
            }
        }

        private bool CompareBytes(byte[] bufferOne, int lengthOne, byte[] bufferTwo, int lengthTwo)
        {
            if (lengthOne != lengthTwo)
            {
                return false;
            }
            for (int i = 0; i < lengthOne; i++)
            {
                if (bufferOne[i] != bufferTwo[i])
                {
                    return false;
                }
            }
            return true;
        }

        private static IEnumerable<string> GetFiles(string path)
        {
            Queue<string> queue = new Queue<string>();
            queue.Enqueue(path);
            while (queue.Count > 0)
            {
                path = queue.Dequeue();
                try
                {
                    foreach (string subDir in Directory.GetDirectories(path))
                    {
                        queue.Enqueue(subDir);
                    }
                }
                catch (Exception ex)
                {
                    Console.Error.WriteLine(ex);
                }
                string[] files = null;
                try
                {
                    files = Directory.GetFiles(path);
                }
                catch (Exception ex)
                {
                    Console.Error.WriteLine(ex);
                }
                if (files != null)
                {
                    for (int i = 0; i < files.Length; i++)
                    {
                        yield return files[i];
                    }
                }
            }
        }

        #endregion
    }
}

redpajama_set_name: RedPajamaGithub


SCF revealed its new construction framework will be launched on 29 April across the South East, South West, and London regions. SCF is a joint venture between Hampshire County Council and Devon County Council.
The current generation has delivered over £2.5bn of public construction projects, adding more than £110m of value for 75 public sector clients through its quality managed approach, whilst on average reducing costs by 1% in pre-construction.
Mace has been named on the new framework alongside 10 other contractors. Mace has delivered a number of high profile projects that it has been appointed to via the framework, including the award-winning Marlborough Primary School in West London (pictured).


GlobalVillages is led by FranzNahrada, founder of the GIVE (Globally Integrated Village Environment) Lab in Vienna.
GlobalVillages was conceptualised in one of the Seven Layers of the OurCulture Wiki created by the MinciuSodas Community.
We wanted to host other group but we abandoned this for the time being for the WorkNets concept.


text:
Peace At Last, an opera for 3-5-year-olds
OperaUpClose are working with Gallions Primary School to create an opera with and for 3-5-year-olds based on Jill Murphy's book, Peace At Last. The opera will premiere at Gallions and at schools in surrounding boroughs (Newham, Hackney and Tower Hamlets) before a UK tour of schools and theatres.
18 months. *Please note that this budget comprises part of the total project budget, and includes educational and physical production costs for our tour*
Charity information: OperaUpClose
Our primary goal is to provide high-quality music for all, regardless of social and economic circumstances. Music plays a vital role in the development of young children. However, music-making for children aged 0-5 is not funded by the government's National Plan for Music Education. Children in this age group are often exposed to music through paid-for activities, and so there is a socio-economic divide between those whose households can afford these activities and those whose cannot.
OperaUpClose and Gallions are passionate about making high-quality music-making accessible to all children. Peace At Last will be a high-quality opera developed according to the needs and tastes of its audience – 3-5-year-olds. The opera's tour will include visits to schools in less advantaged areas. E.g. Gallions is situated on the Windsor Park Estate, which consists of 95% social housing and is within the 5% most deprived areas in England (Index of Multiple Deprivation, 2010).
To create a new work tailored to 3-5-year-olds, an under-served demographic in need of arts access
» The opera will be developed through exciting and engaging workshops with Reception classes of Gallions Primary School in Newham
OperaUpClose and Gallions will put the voices of children at the heart of our work. The creation of an opera tailored to this age group demonstrates the success of this aim.
To break down economic, socio-economic and geographical barriers to enable musical inclusion
» After premiering at Gallions, the opera will tour to UK schools & theatres, to areas of low arts engagement and with heavily discounted & free tickets
That the project engages with children and families with a diverse range of backgrounds and means, and makes them feel like opera is 'for them'
To develop and share research on the use of opera as an educational and social tool for Early Years
» Developmental workshops will test what works best for this age group. Based on our findings, we will create an Early Years music educational package
We will gather all findings and create a detailed report which we will share with our network and make available publicly on our website. We will also widely circulate this report
This project will allow us to:
1.	Contribute to the growing, yet still very limited, repertoire of high-quality music for Early Years
2.	Develop new relationships with UK-wide schools and regional theatres
3.	Enrich our relationship with Gallions Primary School, known for their extraordinary music programme, which puts music at the heart of students' education at all ages
4.	Continue to develop OperaUpClose's effective and accessible Learning and Participation programme
There is a risk that schools will not book our opera. To maximise the most effective ways of reaching schools, we will work with East London Cultural Education Alliance and with our partners at Regional Music Hubs, developed through our previous opera project for older (7-10 year old) children and Participation teams at theatres where we regularly tour with operas for grown-ups.
Donors to this project will receive an email report after the workshops have been completed detailing our findings and the development of the opera. On tour we will keep them informed about the schools we are visiting, how many young people have been engaged, and their responses to the project.
£1,000 Schools Pack Creation of an educational package for schools on tour
£1,500 Tour workshop development cost Developing the workshop to accompany performances on tour around the UK
£5,000 Sets/Props Cost of interactive, tactile set and props for UK tour
Gallions is situated on the Windsor Park Estate, an extensive housing development in Beckton, which consists of 95% social housing and is within the 5% most deprived areas in England (Index of Multiple Deprivation, 2010). Newham has the second highest levels of income deprivation of all English local authorities. Just fewer than 70% of children live in households receiving tax credits - the third highest in London behind Barking & Dagenham and Hackney.
•	90 children in the workshops, 180 Gallions Reception/Y1 students (and c.200 parents) at Gallions Arts Festival; 1400 children (expected) on tour
•	Teachers at schools on tour who benefit from online resources
•	Workshop facilitators (performers, writers, directors) gaining experience and skills
•	Families able to experience high-quality opera with their children on tour
•	OperaUpClose and Gallions Primary School will benefit from partnering on this project
Our testimonials speak for themselves:
John Ellerman Foundation:
As a funder, we are mostly interested in supporting arts organisations that bring the performing arts to people who would not otherwise attend. OperaUpClose is doing exactly that. Seeking out, developing & nurturing relationships with new audiences.
Previous participant, age 7:
The workshop was amazing. It was great to learn about the setup and behind the scenes. It was jam-packed with great information & delivered in a fun way.
Joanna will be the composer of Peace At Last and will work with Gallions children, Aimee Gardner & a team of ethnically & gender diverse musicians
Robin Norton-Hale
Artistic Director & CEO of OperaUpClose, Robin, will write the libretto for, and direct, Peace At Last and will oversee all work on this project.
Helen Sharp
Helen will play the harp in both the workshops and on tour. Experience includes: Royal Opera House, London Symphony Orchestra & Britten Sinfonia.
Contact OperaUpClose

redpajama_set_name: RedPajamaCommonCrawl


Take advantage of a new adventure with a fantastic choice of exciting experiences to pick from. Enjoy the rush of a full throttle driving experience or jump at the opportunity to bungee from 300 feet up. This voucher is packed with an amazing range of experiences to be enjoyed in various locations throughout the UK. Embark on a hair-raising adventure, with a choice of flying lessons, indoor skydiving experiences, bungee jumps, white water rafting and much more.
This voucher is valid for 24 months. Dates will vary according to the experience chosen - please check when booking.
Some experiences rely on the weather. In this instance it is advised that you to call the centre before travelling to your experience to check whether conditions are suitable.
The duration of the experience depends on the chosen experience.
This experience is for one or two people. Some Red Letter Days are exclusive; others are shared with a group.


text:
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<!--
  ~ Copyright (c) 2010-2013 Evolveum
  ~
  ~ Licensed under the Apache License, Version 2.0 (the "License");
  ~ you may not use this file except in compliance with the License.
  ~ You may obtain a copy of the License at
  ~
  ~     http://www.apache.org/licenses/LICENSE-2.0
  ~
  ~ Unless required by applicable law or agreed to in writing, software
  ~ distributed under the License is distributed on an "AS IS" BASIS,
  ~ WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
  ~ See the License for the specific language governing permissions and
  ~ limitations under the License.
  -->

<configuration>

	<!-- !!! WARNING !!! -->
	<!-- This file is used only for early system init.
	     The logging config is then taken from system-configuration.xml -->

	<appender name="X" class="ch.qos.logback.core.FileAppender">
		<file>./target/test.log</file>
		<encoder>
			<!-- <pattern>%date [%thread] %-5level [%X{subsystem}]\(%logger{46}\): %message%n%caller{16}</pattern>  -->
			<pattern>%date [%thread] %-5level [%X{subsystem}]\(%logger{46}\): %message%n</pattern>
		</encoder>
	</appender>
    <logger name="org.hibernate.engine.jdbc.spi.SqlExceptionHelper" level="OFF"/>
    <logger name="com.evolveum.midpoint.util.ClassPathUtil" level="INFO"/>
	<logger name="org.springframework" level="WARN" />
	<logger name="com.evolveum.midpoint" level="INFO" />
	<logger name="com.evolveum.midpoint.model" level="INFO" />

	<logger name="org.identityconnectors.ldap" level="INFO" />

	<!-- Expression trace -->
	<logger name="com.evolveum.midpoint.common.expression" level="TRACE" />
	<logger name="com.evolveum.midpoint.common.expression.MidPointFunctions" level="TRACE" />

	<logger name="com.evolveum.midpoint.provisioning" level="TRACE" />
	<!--<logger name="com.evolveum.midpoint.common" level="TRACE" />-->
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	<logger name="com.evolveum.midpoint.model.impl.lens.Clockwork" level="DEBUG" />

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	<logger name="PROFILING" level="INFO" />

	<root level="WARN">
		<appender-ref ref="X" />
	</root>
</configuration>


The FIFA Final World Cup viewership figures are in and to no one's surprise they are massive. In addition, ESPN's College GameDay set new ratings and viewership records this season, while the networks coverage of the Heisman Trophy ceremony hit a 14-year low. More ratings news on Week 14 of the NFL season, NBCSN's big 2015, record WTA ratings, and more below.
The final figures are in and more than one billion fans tuned in to watch the final of the 2014 FIFA World Cup Brazil, with the competition reaching a global in-home television audience of 3.2 billion people, according to FIFA and Kantar Media. An estimated 280 million people around the world watched matches online or on a mobile device, in a sign that more and more fans are embracing new technology for sports content.
In 2015, College GameDay Built by The Home Depot averaged 1,961,000 viewers per episode (14 shows), the most-watched regular season since the show expanded to three hours on ESPN in 2013. The record-setting viewership represents a 5% increase from last season (1,859,000) and 7% from 2013 (1,830,000). The traveling college football pregame show set a new high-water mark for household rating in the same three-year time period with a 1.4 – compared to a 1.3 in 2014 and 2013.
Three times this season College GameDay set a new high-water mark for the most-watched three-hour, regular season episode, the most-recent being on Nov. 28 from Stillwater, Okla. (2,267,000 viewers). The second and third best ratings were Nov. 7, 2015 in Tuscaloosa, AL (2,233,000) and Sept. 5, 2015 in Fort Worth, TX (2,232,000). Overall, 5 of the 7 most-watched three-hour episodes occurred this season.
Fox's America's Game of the Week, which featured the Dallas Cowboys at Green Bay Packers as the lone game, drew a 16.5/31 household rating/share, and 28.9 million viewers. The game ranked as the highest-rated, most-watched program of the week on any network, and is the second highest-rated NFL telecast of the 2015 season. This is the seventh time in as many opportunities that AGOTW has been the No. 1 program of the week this season, and it continues to rank as the highest-rated and most-watched program in all of television this TV season. The 16.5/31, 28.9 million viewers for AGOTW on Sunday (12/13) is +6% better in rating and +12% in audience compared to the AGOTW Week 14 window a year ago (15.6/28, 25.9 million). Through Week 14, AMERICA'S GAME OF THE WEEK on FOX is averaging a 15.8/30, with 27.5 million viewers, +3% over AGOTW's season-to-date average audience a year ago (26.7 million viewers), and +9% better than CBS' national game average audience (25.2 million) and +20% better than NBC's Sunday Night Football average (23.0 million) this season.
Through 14 weeks, FOX NFL SUNDAY is averaging a 3.4/9 and 5.2 million viewers, +8% in audience ahead of last year (4.8 million), and +44% better than The NFL Today (3.6 million).
FOX NFL SUNDAY delivered its fifth consecutive ratings increase of the season over the weekend, posting a 3.7/10 and 5.6 million viewers, +37% over the 4.1 million viewers recorded in Week 14 a year ago, and is +56% better than CBS' The NFL Today (3.6 million) in 2015.
With New Year's Day approaching, NBCSN is on pace for its best year ever in 2015, according to live plus same day data released by The Nielsen Company. NBCSN is averaging 151,000 viewers through the first 50 weeks of the year and will finish 2015 with its best-ever Total Day (6 a.m.-6 a.m.) viewership – topping by 6% the prior record set last year (143,000) which included 16 days of live Sochi Winter Olympics coverage. In addition, NBCSN is on pace for its best-ever year in Primetime (8 p.m.-11 p.m.) averaging 366,000 viewers – up 24% from last year (296,000). Among Adults 18-49, NBCSN is averaging 148,000 viewers – the best viewership figure for the network in the demo since 2009, and a 6% increase over last year (140,000).
NBCSN is averaging 151,000 Total Day viewers to-date in 2015 (Dec. 29, 2014-Dec. 13, 2015) – which will rank as the most-watched calendar year in the network's history. NBCSN's Total Day viewership tops by 6% the network's previous-record of 143,000 viewers, which was set last year and included 16 days of live Sochi Winter Olympics coverage. NBCSN is averaging 366,000 Primetime viewers – the best year ever in primetime for the network and up 24% from last year (296,000). In the key primetime demographic, NBCSN is averaging 148,000 viewers among Adults 18-49 – the best viewership figure for the network in the demo since 2009, and a 6% increase over last year (140,000).
NASCAR made a solid NBCSN debut as the property returned to NBC Sports Group in the first season of a 10-year partnership. NASCAR Sprint Cup races posted the network's four most-watched, non-Olympic telecasts ever (chart below) and led a calendar year highlighted by seven of the network's top 10 all-time, non-Olympic shows. The top four were: July 26, 2015 – NASCAR Sprint Cup: Indianapolis with 4.70 million viewers; August 16, 2015 – NASCAR Sprint Cup: Michigan with 4.29 million viewers; August 2, 2015 – NASCAR Sprint Cup: Pocono with 4.26 million viewers and October 25, 2015 – NASCAR Sprint Cup: Talladega with 4.24 million viewers.
From the return of live NASCAR racing to NBC Sports Group over July 4th weekend through the end of the Sprint Cup Playoffs (Nov. 22), NBCSN averaged 183,000 Total Day viewers, up 120% from the same period last year (83,000) and marking the best Total Day increase for any cable network in the five-month stretch (June 29-Nov. 29).
NBCSN televised 54 NHL Stanley Cup Playoff games, averaging 1.231 million viewers – the best NHL Stanley Cup Playoffs ever for the network topping the prior mark set last year (1.227 million). NBCSN's signature Wednesday Night Rivalry series is averaging 577,000 viewers in calendar 2015 – up 4% from the WNR series in 2014 (554,000).
After consecutive record-setting seasons in 2013-14 and 2014-15, NBCSN is averaging 439,000 viewers this season — up 3% from last year at this time. In addition, including matches on USA Network (most telecast simultaneous to the 10 a.m. ET game on NBCSN), the Premier League is enjoying its best-ever season on U.S. cable television, averaging 483,000 viewers per match window, up 16% from last year at this time. NBCSN's April 12 telecast of Manchester United's 4-2 victory over Manchester City averaged 1.1 million viewers to rank as the most-watched Premier League match in U.S. cable television history. NBCSN has televised 9 of the 10 most-watched Premier League games ever on U.S. cable.
NBCSN televised its first-ever Notre Dame Football game on Nov. 21 (a 19-16 Fighting Irish victory over Boston College at Fenway Park), which averaged 2.0 million viewers to rank as the network's most-watched college football game ever.
NBCSN's presentation of the 2015 Verizon IndyCar Series averaged 507,000 viewers, making it the most-watched IndyCar season on NBCSN since IndyCar rights were acquired in 2009. Viewership for the network's IndyCar coverage (11 races) was up 34% from the 2014 season (378,000, 12 races), and up 26% vs. the previous record (402,000 in 2011). The Aug. 30 IndyCar season finale at Sonoma averaged 841,000 viewers to become the most-watched IndyCar race on NBCSN since rights were acquired in 2009, and the most-watched IndyCar race on cable in seven years (2008 at Richmond). The final six races of the season on NBCSN eclipsed 500,000 viewers, more than the past six seasons on NBCSN combined (five).
NBCSN averaged 418,000 viewers for its live coverage of 13 races in 2015, up 9% vs. 2014 (385,000), to rank as the best F1 season for a single cable network since 1995. (NOTE: Due to the global nature of F1, many races begin prior to 8 a.m. ET.) An NBCSN-record five 2015 races averaged more than 500,000 viewers (Bahrain, Spain, Austria, Belgium and Singapore), highlighted by 630,000 viewers for the Bahrain Grand Prix on April 19, which was the most-watched non-domestic F1 race on cable in eight years (2007 Brazilian Grand Prix).
NBCSN posted the best viewership for its live morning Tour de France telecasts since 2010 (the last year Lance Armstrong rode in the race), averaging 365,000 viewers – up 27% from last year (288,000).
The Women's Tennis Association (WTA) today announced key metrics from a 2015 audience report by SMG Insight, that show overall viewership up by 25% year-on-year, with 395 million cumulative viewers in 2015 versus 316 million in 2014; an all-time high. For the second consecutive year the WTA registered a substantial increase in audience; viewership rose by 23% in 2014. WTA coverage is being seen by more TV viewers, with the number of households reached by WTA programming hitting 954.4 million in 2015, a 38% increase on 2014. The greater number of ways fans can consume WTA content, meanwhile, is adding viewers who consume sport online, or who supplement TV coverage with extra content online.
Digital viewership was up 44% year-on-year, with 44.6 million viewers watching women's tennis through online channels, compared to 31 million in 2014.
…The anticipation of watching Conor McGregor face Jose Aldo, delivered FS1 multiple UFC viewership records last weekend's UFC 194 PRELIMS telecast Saturday night. The two-hour prime time UFC 194 PRELIMS on Saturday delivered 1,931,000 viewers and is the most-watched Pay-Per-View prelims in FS1 history, according to Nielsen Media Research. The PRELIMS peaked at 2,380,000 during the legendary Urijah Faber's gritty decision over Frankie Saenz. In addition to being a record-setter for FS1, UFC 194 PRELIMS were the most-watched on any network in more than four years, dating back to the UFC 126 prelims on Feb. 5, 2011, which aired on Spike TV (1,964,000). The special two-hour FS1 UFC 194 WEIGH-IN SHOW on Friday (12/11), was also record-setting, becoming the most-watched weigh-in ever on FS1, delivering 294,000 viewers. FS1 UFC programming on Saturday kicked off with strong viewership for the FS1 UFC 194 PREFIGHT SHOW, which tallied 556,000 viewers and now ranks as the fourth most-watched PPV prefight in FS1 history. Following McGregor's shocking knockout of Jose Aldo in the first 13 seconds of the opening round, fans tuned back to FS1 for the FS1 UFC 194 POSTFIGHT SHOW, which averaged 344,000 viewers, making it the fourth most-watched POSTFIGHT SHOW ever on the net and more than tripling the viewership for the network's PPV post-fight show in December 2014.


This was found when testing mobile gallery. Please try the attached HTML. This can be found in iPhone3/4.
Scroll down to radio buttons.
You'll find the view is scrolled down.
And you cannot scroll up to top of the view anymore.
The original video is too large. I put it some where else.
test_FormControls2.html (8.4 KB) - added by Ming Zhe Huang 8 years ago.
Fixes #13444. Add isFocusable method to mobile.Button that returns false to prevent inadvertent programmatical focus that causes IOS to keep the Button in view all the time.


On the last couple of days, I built an advertisement serving platform and a traffic counter that can count traffics for multiple websites from a centralized location. Although I can't release the source code for the ad serving software and the traffic counter software at this moment because I am planning to build a WordPress plugin bases on my ad serving platform source code, I did release the GeoIP query API that I used in the source code on GitHub. This is my first ever git project.
The source code is very basic currently, but if you like to use it in your project feel free to. Any bug can be reported directly here. I do not mind contribution to the source code either. The link to the project is here https://github.com/kevinhng86/fai_geoIP, I might occasionally update the source code in the futures.
I will come back to continually release the infinity subject. It just currently I have to finish up with the traffic counter platform. To see my traffic counter in action, you can visit http://ozlu.org or http://codercentral.net, they are all operated from one centralized location. The ad server that I am building and debugging also serving ads from one centralized location.
Original Post Name: "My First Git Project".


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text:
Five Questions With… Kristian Mercado (PA'LANTE)
June 21, 2019 / Allyson Morgan
An estranged family in Puerto Rico tries to reconnect in the aftermath of Hurricane Maria, in the narrative short film PA'LANTE by Writer/Director Kristian Mercado.
Listen as Kristian talks about the film, and see it in the "What I'm Looking For" block of short films on Sunday, June 23 at 11:30am!
June 21, 2019 / Allyson Morgan/
Directors, Filmmakers, Writers
Shorts, filmmaker, writers, directors
Allyson Morgan
Five Questions With... Tyler Nilson & Michael Schwartz (THE PEANUT BUTTER FALCON)
In Spotlight Film THE PEANUT BUTTER FALCON, Zak runs away from his care home and teams with fugitive Tyler to go on the adventure of a lifetime. Featuring Shia LaBeouf, Dakota Johnson, Zack Gottsagen, John Hawkes, Bruce Dern, and Thomas Haden Church.
We spoke to writers/directors Tyler Nilson & Michael Schwartz. Read more with them below, and see the film on Sat, June 22 at 7:30pm and Sun, June 23 at 2:45pm!
Note: Young Film Lovers between the ages of 18-30 can see this film for just $10 with code NFFYFL30 online or at the box office!
NFF: Can you talk a little bit about your inspiration for the film?
TYLER & MICHAEL: We wrote THE PEANUT BUTTER FALCON after a heartfelt conversation with our friend Zack. He's a born entertainer and had been studying acting and dance most of his life when he told us that he wanted to be a movie star. We replied honestly that there weren't a lot of opportunities or roles written for people with Down syndrome to star in movies and he asked, "Then why don't you write one for me?"
NFF: What was the casting process like, and where did you find Zack? When did you know he would be your star?
TYLER & MICHAEL: The role was written specifically for Zack, we spent a lot of time together talking about life, movies, adventure, and what he likes and doesn't like. A lot of the dialogue in the movie are things that he'd said to us in conversation.
Our biggest challenge wasn't casting Zack it was keeping him in the role. Before we landed with producers that "got it" at Bona Fide and Armory we had offers to finance the movie but only if we'd cast a known actor without a disability playing disabled.
The rest of the cast that filled out with perfect fits. I'm so proud of the performances given by Shia LaBeouf, Dakota Johnson, Bruce Dern, John Hawkes, Thomas Haden Church, and Jon Bernthal. Legendary wrestlers Jake "The Snake" Roberts and Mick Foley were amazing to have on set and they added depth and authenticity as well.
NFF: There's both a "buddy comedy" and "road trip" vibe to the film, although this is a uniquely original take...were you inspired by other films in those genres?
TYLER & MICHAEL: There's a lot of movies that we love and every day we break down films and talk about what types of elements work well to make audiences feel certain ways, connect to characters, and trigger emotions. Tonally we were influenced by HUCK FINN, STAND BY ME, MUD, etc.
NFF: What are you working on currently, and/or where can we see more of your work?
TYLER & MICHAEL: First and foremost we're staying as present as possible with THE PEANUT BUTTER FALCON. We want to support the movie every way we can so audiences go see the work our whole team put from producers, to actors, and crew.
Beyond that we have a TV show that we're developing with LuckyChap based on our experience living in an illegal tree house surrounded by raccoons and mountain lions in Los Angeles (Money was tight right before we left to shoot THE PEANUT BUTTER FALCON) and a feature that we're keeping under the radar for the time being.
NFF: Why are you excited to screen in Nantucket, and/or what do you hope Nantucket audiences might relate to or takeaway from the film?
TYLER & MICHAEL: Everything that we've heard about Nantucket has been extremely positive. We've always wanted to go to the island and the reputation of the festival is that a lot of the focus is on writing which is such an important part of the process and often overlooked.
With any movie the goal is for the audience to connect, feel something, maybe identify with a character, and have an authentic experience. When we premiered at SXSW the reactions exceeded expectations and the film took home the audience award. In Nantucket we hope the audience is taken in by the mix of hope, heart, and drama as well in a way that might make their day, week, or life just a little bit better.
Directors, Filmmakers, Interview, Writers
SPOTLIGHT, Feature Screenplay, directors, writers
Five Questions With... Gregory Bernstein & Sara Bernstein (OFFICIAL SECRETS)
In Spotlight Film OFFICIAL SECRETS, a British intelligence officer risks everything to become a whistleblower after she learns of a plot to blackmail the UN Security Council to support the 2003 invasion of Iraq. Featuring Keira Knightley, Matt Smith, Matthew Goode, Rhys Ifans, and Ralph Fiennes.
We spoke to co-writers Gregory Bernstein and Sara Bernstein about their film. Read more, and catch it on Saturday, June 22 at 2:30pm and Sunday, June 23 at 9:30am!
NFF: Can you talk a little about how you found this story, and why you wanted to adapt it?
GREGORY & SARA: We were having lunch in LA with friends who were passing through town, journalist Marcia Mitchell and her late husband, Tom, who was a former FBI agent. The two of them wrote nonfiction espionage-related books together, and they mentioned that they had just come back from the UK, where they'd managed to coax an interview out of a very private young translator for a British intelligence agency -- and proceeded to tell us Katharine Gun's incredible story.
Marcia and Tom had healthy debates about whistleblowing; so do Gregory and I. But all four of us have complete respect for the purity of Katharine's motivations. She acted on instinct, and out of a sense of conscience. For writers, it's rich material, and a subject matter that we hope the public will debate. What is a citizen supposed to do when their government is lying on a massive and consequential scale?
And, of course, we liked the David and Goliath element.
NFF: What's your writing process like as a team?
GREGORY & SARA: We started writing together in film school before we even started dating, so it's a pretty seamless process by now. What works best for us is that one of us will take the lead, and write the first draft. We outline together, and write drafts 2-1000 together.
NFF: How involved was Katharine Gun in the making of the film?
GREGORY & SARA: Katharine was really generous with her time and advice with all of us – the book authors, the screenwriters, the director, and the actors.
GREGORY & SARA: We're heavy into research and outlining on a couple of different stories – a comedy, a limited series about the murder of Jane Stanford (the founder of Stanford University), and we have a WWII romance/spy story on the back burner. We'll see what takes shape first. It's a friendly race to see who gets to be the lead on our next project.
GREGORY & SARA: We've always heard that Nantucket, like Austin, is a writers' festival, and so have always wanted to come. As far as audience takeaways, we just hope that our film will spark discussions, not about the Iraq War, but about the best way to act ethically in an unethical environment. There's a lot to discuss.
Filmmakers, Writers, Interview
Feature Drama, spotlight, writers
Five Questions With... Brittany Snow (MILKSHAKE)
In MILKSHAKE, Natalie only wants her mother's approval. Her mother wants a big and different future for them both.
Listen to Writer/Director Brittany Snow talk about the film, playing in the "What I'm Looking For" block of short films on Sunday, June 23 at 11:30am!
Fun fact: you can also see Brittany as a presenter at our Screenwriters Tribute on Saturday at 6:30pm!
Shorts, directors, writers, filmmaker
Five Questions With... Sameh Zoabi (TEL AVIV ON FIRE)
In this irreverent satire, a middle-aged slacker fails upwards in his job on the set of a popular Palestinian soap opera only to end up fielding script notes from a disgruntled Israeli military officer. Winner: 2016 NFF Showtime Tony Cox Feature Screenplay Competition.
We spoke to Writer/Director Sameh Zoabi about TEL AVIV ON FIRE. Read more below, and see it on Thurs, June 20 at 6:00pm and Sun, June 23 at 5:30pm!
NFF: Can you talk a little bit about your inspiration for the screenplay?
SAMEH: I was inspired by the reaction to my work both films and scripts - as a Palestinian filmmaker who also hold an Israeli citizenship I feel that people always read closely into the politics of my work, there is always an interpretation that swings between the two sides. People question both the Israeli side of the story and the Palestinian, it always feels like it is a test and I have to pass both sides somehow to survive as a filmmaker. It's an interesting dilemma that I find myself trapped with each time I want to make a movie… this feeling was the beginning of inspiration of TEL AVIV ON FIRE. Salam, the main character, is a Palestinian young man that works on finding his voice as a writer on a soap opera, he is trapped between the Israeli Officers at the checkpoint and the Arab producers. He tries to please each one by giving them an end to the show that both agree with. This is for me the core of the film, and the tone of using comedy was inspired by upbringing—humor is an essential mechanism for my people to deal with the harsh daily reality of experiencing injustice.
NFF: You're returning to Nantucket, having been a previous Tony Cox Screenplay winner. How has the script changed since then, and/or how was that process helpful to you?
SAMEH: The Tony Cox screenplay award and then later the same year I stayed at the writer's colony, all of this in fact lead me to the draft in which I was able to raise funding for the film. Our first funding came a few months after the colony and working with advisors on the script. However, given the nature of co-production with Europe, we had to go through a set of many rewrites before shooting, as the script was translated into different languages and cultures news ideas were born as a result until almost a week before shooting. At a certain moment the script and the process started to feel similar to the film's central dilemma-- in a good way.
NFF: Did you grow up watching soaps? How did you decide on that genre as your entry point?
SAMEH: Soap operas are a big deal in the Middle East. People watch them and are fully taken by them as well. What I find interesting is that the people who watch soaps find the acting and straightforward dialogue more realistic than the subtle acting and dialogue of feature films. The soap opera medium allowed me to explore things that I may never be able to do otherwise in cinema. For instance, the opening scene of the film, which I find quite political. The characters say very direct things, without filters, but because this scene takes place inside the movie as part of a soap opera, it provides comic relief.
When I was growing up inside Israel, disconnected from the Arab world, there were only two TV channels. The Arabic-language shows were mostly from Egypt. They had the best soap opera series, particularly in the month of Ramadan. The show I created in my film is an homage to one famous show I grew up with. Nowadays, the reality has changed. There are hundreds of Arab TV channels and many shows from Syria, Lebanon, Egypt, and even dubbed ones from Turkey and India. Recently, I was watching a soap with my mom. I was laughing at an emotional moment because of its over-dramatized acting and camera work, but my mom was holding a tissue, crying. This experience inspired me when writing and directing the film.
SAMEH: Since I am based in the US for some time now, I feel after TEL AVIV ON FIRE I am ready for a new adventure to make a film in the US. I am in the process of developing a feature and a TV show. That said, I will still be working on films in the Middle East. I am in the process of financing a comedy set in Gaza called CATCH THE MOON. Rebecca O'Brien from Sixteen Films in the UK is the lead producer working with my partners on TEL AVIV ON FIRE. My previous work should be available on streaming services, except for my first feature MAN WITHOUT A CELL PHONE (2010), which we hope to have available soon.
SAMEH: I am indeed excited, it is a special intimate festival with a great audience that I feel will connect with my film. So far the film has been screening in many festivals around the word, winning many audience awards thus far; it is a great feeling in general to know that the audience enjoys the film. After all we make films to share with people. So for me, coming back to Nantucket after being there with a script before is super special. Believing in an idea that now is reality on the big screen. The film presents a political discussion over the Israeli-Palestinian conflict in a comedic tone, so I hope that the audience will both laugh (enjoy) but also reflect on the issues discussed in the film. Looking forward to it!
Feature Screenplay, directors, writers
Five Questions With... George Pelecanos (DC NOIR)
Based on short stories written by acclaimed author and writer/producer George Pelecanos (HBO's The Deuce, The Wire), this crime anthology follows a diverse cast of characters living and dying on the fringes of society in the nation's capital.
We spoke with George about DC NOIR, playing on Friday, June 21 at 5pm. Read more below, and see it this week!
NFF: Can you talk a little about the adaptation process, and why/how you wanted to make these stories into film?
GEORGE: I had adapted and produced a short, THE CONFIDENTIAL INFORMANT (directed by Stephen Kinigopoulos), based on one of my short stories and I liked the experience. I decided to do three more and make it a feature anthology film. It was my way of initiating film production in DC, a longtime goal of mine.
NFF: What was the decision around directing for the first time? Was it something you've been thinking about for awhile?
GEORGE: If by awhile you mean since childhood, yes. I have always wanted to direct but I like the indy vibe. I've been working in television for twenty years but I never had the desire to direct episodic TV. Now that I got my feet wet, I'm going to keep at it.
NFF: DC NOIR has been screened as separate chapters and has a complete film. How do you prefer audiences consume it?
GEORGE: As a complete film. I made a concession to show it as a chapter one and I don't think I'll do that again. It's a disservice to the other directors, who all did good work.
GEORGE: I'm writing and producing the third and final season of my show, The Deuce, for HBO. It airs in September. I hope to get started on my next novel sometime soon.
GEORGE: I just like the festival. It's one of the most enjoyable experiences I've had in the business. It's well run and it's just big enough, and it seems to be free of most of the politics you run into on the festival circuit. I'm hoping someone will adopt me and give me a summer home in the island.
directors, writers, Feature Drama
Five Questions With... Tim Wilkime (MILTON)
In MILTON, a guy makes a bad first impression when he meets his girlfriend's family as they gather at her grandfather's deathbed.
We spoke with Writer/Director Tim Wilkime about the film. The first screening is sold out, so catch the second in the Laugh Out Loud block on Sat, June 22 at 4:15pm!
NFF: Please say a little about your inspiration for the film.
TIM: Milton was based off of a personal experience I had watching my wife's grandmother take her final breath in hospice. The family was in the room but they were catching up with each other so there were unaware of the grandmother's passing. I had to break the news to them. It was a very surreal, uncomfortable and emotional experience but it all played out pretty normally. Years later, when I started writing shorts, I thought it would be funny to revisit that experience and write it as if it were an episode of "Curb Your Enthusiasm" but with a meek man that keeps putting his foot in his mouth.
NFF: Why (or how) do you use comedy to tell your story?
TIM: My background is in comedy directing so comedy is naturally where I go as a storyteller. Usually I work in sketch where the jokes and performances can be pretty broad but with Milton, being a dramedy, I wanted to ground the humor as much as possible. I thought if the comedy came from a honest and relatable place the emotional moments would be more impactful.
NFF: What do you find the biggest advantages and challenges of making a short as opposed to a feature?
TIM: One of the great things about shorts is that you can take bigger risks than with features. My short is pretty grounded in reality but I have kind of an abstracted ending that I don't think I'd be able to get away with if this were a feature. Audiences embrace bold choices from a short because shorts don't really have a traditional structure and set of rules that you have to follow. The biggest challenge with making a short is just putting the production together. You usually end up self-funding it and wearing a lot more hats than you're used to. It can get discouraging at times but the key is just surrounding yourself with a team of people that believe in the project as much as you do.
TIM: Currently I'm writing a feature that I hope to be making in the next year. I also directed two episodes of "Adam Ruins Everything" that will be airing later this year on TruTV. You can find my work at www.timwilkime.com.
TIM: As an audience member, there's no better feeling than being in a theater full of people laughing. The hope is for MILTON to do that for the people of Nantucket.
Shorts, directors, writers, interview
Five Questions With... Emilie McDonald, Bruce Smolanoff, & Urvashi Pathania (CHURROS, NAAN & BALSAMIC VINAIGRETTE)
We spoke with the filmmakers behind two of the shorts in the "What I'm Looking For" block, playing on Sunday, June 23 at 11:30am.
Read more with Emilie McDonald and Bruce Smolanoff of CHURROS and Urvashi Pathania of NAAN & BALSAMIC VINAIGRETTE, and see the films on the 23rd!
URVASHI: 2016, the end of democracy, some say, also happened to coincide with the end of my first relationship. This film was an attempt to make sense of it all.
NFF: Your film is in the "What I'm Looking For" block. What do you think your characters are in search of?
EMILIE & BRUCE: Jo-Jo is in search of a sense of security and belonging. Maria is in search of safety and comfort for her family, seeking to see the beauty rather than the blemishes in their daily struggles.
URVASHI: Maya is searching for her own identity. As a woman on the brink of adulthood, she is finally learning about herself, her own preferences, even if the process leads to some painful discoveries.
EMILIE & BRUCE: The biggest advantages of making a short are that you can finish things *slightly* more quickly - the script, the shoot and the edit, although the process is still quite time-consuming. Another advantage in our case is that we have a piece of work to show our vision in trying to make the feature version of the film. The biggest challenges of making a short are that you have only a finite number of days to get everything in the can (and in our case our DP was here from out of town so we had no flexibility with timing), and must face whatever challenges come up head-on (we had locked parks where you are supposed to film, unexpected multi-day rainstorms, and more). Ultimately the challenges are part of the work and make their way into making the work more layered.
URVASHI: Shorts give you more room to experiment with form. The viewer of a short has not been conditioned to expect a three-act structure in the same way they have for a feature. Of course, they're also cheaper and less time-consuming. I have yet to make a feature, but I look forward to having the running time to explore my characters more deeply! I also think excess is more forgivable in features. I love scenes that veer off course, but in a delicious way that adds an unexpected nuance to the story. There's rarely time for that in the short film format.
EMILIE & BRUCE: We are working on the feature version of Churros :)
URVASHI: I'm entering the final year of my MFA at USC this fall and will be traveling to Rajasthan, India to shoot my thesis film! You can follow my journey on my website www.urvashipathania.com or on instagram @swurvashi.
EMILIE & BRUCE: We are excited to screen in Nantucket for many reasons. We have heard that the festival and audiences are just incredible and we cannot wait to meet everybody. We of course are also excited to see Nantucket for the first time. We have never been there and it almost seems like a magical Shangri-la so will be nice to see the real thing in person. We hope Nantucket audiences will relate to the plight of a young boy grappling with a big decision, and will be able to put themselves in the shoes of a new immigrant trying to provide for her family.
URVASHI: This film is five minutes of densely layered half thoughts. It was the first film I made in my MFA, and I felt a sort of need to scrap together all of my ideas and emotions. I hope the audience derives some pleasure from the mixed-media format and that it inspires some creativity.
Shorts, filmmaker, directors, writers
Five Questions With... Paul Downs Colaizzo (BRITTANY RUNS A MARATHON)
In Spotlight Film BRITTANY RUNS A MARATHON, a young woman who hides her insecurities with humor becomes determined to turn her life around one block at a time training for the New York City Marathon. Featuring Jillian Bell, Michaela Watkins, and Utkarsh Ambudkar. Winner: Audience Award, Sundance.
We spoke with writer/director Paul Downs Colaizzo about this funny and heartwarming film. Read more with Paul below, and see it at NFF on Thurs, June 20 at 3:15pm and/or Sat, June 22 at 4:45pm!
NFF: Can you talk a little about your inspiration for the film, and your relationship to the "real" Brittany?
PAUL: The screenplay was born out of the late night talks I had with my friend Brittany when we were both in our mid-20s. In trying to define success and fulfillment for ourselves, we started to wonder if we were capable of more than we'd always believed. As an experiment in pushing herself, she went for a run. Before she'd returned home from the run, I'd come up with a rough outline of the film. Brittany and I have a rare friendship, with the kind of insight and support that somehow, almost cyclically, finds a way of inspiring each of us.
NFF: Are you a runner? Which do you think is harder: running a marathon, or finishing a script (and getting it made)?
PAUL: I am not a runner, I've never been a runner, I actually had to get double ankle surgery while we were in post because I was physically not created to stand for long periods of time, let alone rely on my feet to get me from one point to another quickly.
So, answering for myself, I'd say running a marathon would be harder than getting this movie made because 26.2 miles of relying on my joints would be impossible while getting this film made was only near impossible.
NFF: What was the casting process like, and/or when did you know that Jillian would be your Brittany?
PAUL: Finding our Brittany started about 9 months before we started filming. Jillian had read the script, I'd been a huge fan of her work, but I knew that exploring a part specifically like this one would be a new exploration for her. We met and had a few conversations about what we both wanted out of this movie, how we wanted the world to see this character and her journey, and it became clear we both had the same goals, and that this was going to be a very vulnerable and personal experience for her. And it felt like it had the chance of being an electric performance. Jillian brought her heart, soul, and then some to the role and I'll be thankful for her hard work forever.
PAUL: I'm currently finishing up a script I've been toying with for a couple of years now. Stay tuned.
PAUL: What I've learned traveling the film festival circuit with this movie is that every demographic finds an emotional way into the movie. I'm interested to see how Nantucket audiences respond to the film in a moment-to-moment way, and even more excited for them to experience the totality of the journey in the way all of our audiences have responded so far. I want Brittany to stick with them long after they leave the theater.
Directors, Filmmakers, Interview
writers, directors, SPOTLIGHT
Five Questions With... Christopher Guerrero (WHITE GUYS SOLVE SEXISM)
The Weinstein scandal causes two men to discover all of their favorite movies are now sexist in WHITE GUYS SOLVE SEXISM, playing in the "Laugh Out Loud" block of shorts on Friday, June 21 at 9:15am and Saturday, June 22 at 4:15pm.
We spoke with Writer/Director Christopher Guerrero about the film - read more, and see it next weekend!
NFF: Please say a little about your inspiration for the film. Why (or how) do you use comedy to tell your story?
CHRISTOPHER: The idea for WHITE GUYS SOLVE SEXISM originated after a conversation with a close friend. they told me about a number of male filmmakers from a famous University coming together to mourn the 'loss of filmmaking' in a post-Weinstein world. These men were so blindsided and shocked that women could be treated so terribly for so long… and they… THEY DIDN'T EVEN KNOW. While Weinstein's abuse is both shocking and horrifying, it is far from the first sign of sexism in the film industry.
WHITE GUYS SOLVE SEXISM is an expression of the absurdity of men freaking out about something incredibly obvious to everyone else in the room. It is my hope that viewers can identify the absurdity, not unlike the characters in the short.
I also wanted to make a short about self-congratulatory elements of filmmaking. If this were ever to win an Academy Award, I would have to look out upon a sea of white men, hoisting a trophy, saying 'We did it!'. Even recognizing that this film is good is a sort of congratulating itself. Give yourself a pat on the back, white guys. Ya did it.
CHRISTOPHER: It really depends on the project for me, this project was conceived shot and edited within about 72 hours worth of time. Which is great because it allows you to come up with something quickly and then show it to the world. Though in other short films I've made, it was really hard to be concise, clear, and to the point. In shorts, you don't have much time have to choose wisely, which is an amazing challenge.
CHRISTOPHER: The same day (June 21st) that WHITE GUYS SOLVE SEXISM screens in Nantucket I will be having the world premiere of my latest pilot/short film CAR STEALERS at the TCL Chinese theater for "Dances With Film" which is very exciting. You can find out more at: https://www.carstealers.com
Currently, projects getting ready to shoot are a short film called THE CUCK. "After being fired, a Drama teacher becomes an Alt-Right fanatic writing a play about a " Cuck", but he's too naive to see that the "Cuck" is in fact himself." Also, a short film called GIRL AFRAID with my partner Stef Estep-Gozalo which takes place in my home town of Selma, CA (near Fresno) about a young Latinx woman and how hard it is for young poor underprivileged mothers to get health care. In the realm of features, I am in pre-production and funding on a feature called THREE BULLSHIT DAYS with writer Ryan Gilmore its sort of THE BIG CHILL but about a metal band instead of college friends.
You can see more of my work at my website https://www.christopherguerrero.com, my latest finished projects will be there as well as click on my CV to view everything in chronological order.
CHRISTOPHER: I've been told for many years by many close film mentors that Nantucket was by far their favorite film festival to go to; it's intimate and you get to meet amazing people. I really hope people are able to take away how absurd the "white savior complex" is and how absurd it is for "men" not to realize that sexism exists or have turned a blind eye to it for so long. I would love to make people "wake up" and realize that horrible things are happening around them.


Super Mario Run is built on Unity | PowerUp!
Unity is fast become one of the most widely used engines in video games and now it seems even Nintendo is getting in on the act.
In a tweet from the official Unity account it's been revealed that the upcoming iOS game, Super Mario Run, is built on Unity.
Super Mario Run will be available for iOS in December.


The four unions which have led the current wage negotiations, VR, Efling, VLFA and VLFGrv, declare their anger and disappointment with the government's proposals, announced in a meeting with ASÍ's president and vice-presidents today, February 19.
Negotiations have been in a critical position after the SA business association made an offer last week which would have led to reduced purchasing power for large groups of workers. The SA in turn rejected a fair counteroffer by the four unions.
There was some hope that the government's input could rekindle the negotiations process. It is clear, however, that the government's proposals destroy that hope. Meetings will be held in the unions in the next couple of days and on Thursday the union leaders will meet the SA at the state mediator.
The four unions stand united and steadfast in their demand that workers should be able to live off their wages and that the government should make long overdue systemic changes in the direction of justice.


Update WhatsApp to the latest version available on the Apple App Store.
Open iPhone Settings > toggle to turn Airplane Mode on and off.
Open iPhone Settings > tap Cellular > toggle to turn Cellular Data on.
Open iPhone Settings > tap Wi-Fi > toggle to turn Wi-Fi off and on.
Open iPhone Settings > tap General > Reset> Reset Network Settings > Reset Network Settings. (This will delete all your saved Wi-Fi passwords).
Upgrade or restore your iPhone's operating system to the latest version for your phone.
If you're using an unlocked iPhone or a pre-paid SIM card, you might need to adjust your phone's APN settings for your SIM card. Contact your wireless carrier for details and instructions.


Look up a pressure in pounds per square inch to find the conversion value in mb, hPa, bar, inches of mercury, metres of water column/gauge, inches of water column/gauge or feet of water column / gauge.
Alternatively you can use the pressure unit converter to calculate the equivalent psi value in other units.
The inHg pressure units shown below are for mercury at 0°C, (32°F). The mH2O (mWG or mWC), inH2O (inWG or inWC) and ftH2O (ftWG or ftWC) pressure units shown below are for water at 4°C (39.2°F).
To convert pressure from psi to a higher precision use this pressure unit converter.
Send us your enquiry for a product associated with this psi to mbar, hPa, Bar, inHg, mH2O, inH2O and ftH2O Conversion Table page, and get assistance with selecting a product for your application.


While we know that most fathers would rather just have the day to themselves, a few friends, and a couple of adult beverages while watching the game on a 50" curved 4K Ultra HS Smart LED TV, too bad for them! Pet Camp fathers will take home something even better… a framed picture of their camper. If your camper spends Father's Day with us (that's June 18th in case you forgot) you'll take home a framed picture. Yes, you can take home a picture whether you identify as a father or not; who are we to judge?


text:
Baryancistrus – rodzaj słodkowodnych ryb sumokształtnych z rodziny zbrojnikowatych (Loricariidae). Spotykane w hodowlach akwariowych. Zaliczane do glonojadów.

Zasięg występowania
Ameryka Południowa: Kolumbia, Wenezuela i Brazylia.

Klasyfikacja
Gatunki zaliczane do tego rodzaju:

 Baryancistrus beggini
 Baryancistrus chrysolomus
 Baryancistrus demantoides
 Baryancistrus hadrostomus
 Baryancistrus longipinnis
 Baryancistrus micropunctatus
 Baryancistrus niveatus
 Baryancistrus xanthellus

Gatunkiem typowym jest Hypostomus niveatus (B. niveatus).

Przypisy

Hypostominae

redpajama_set_name: RedPajamaWikipedia


with each other & nature.
& the lightness of love & life.
Sandy describes her style as "Monet meets Grandma Moses."
with eyes half closed and heart wide open.
are featured players in many of Sandy's paintings.
Surreal View of Nature's Miracles.


text:
Why Did Cannibals Eat Other People? (Hint: It's Not For the Calories)
By Jeffrey Kluger
No matter how hungry you are, you'd be very unlikely to sit down to a piping hot bowl of Larry—or anyone else, for that matter. In other words, you wouldn't eat another person.
Cannibalism has existed throughout the long, strange arc of human history, but even on those occasions when it's been justified—when the Donner party had a dinner party, say—we don't much like to think about it. Anthropologists, however, find the topic of cannibalism irresistible. The part that intrigues them most is the why: What situations would impel otherwise sociable humans to turn Stu into stew, or Frank into furter?
Now, James Cole, a senior lecturer in archaeology at the University of Brighton, may have an answer. In a new study published in Nature, Cole calculates the calorie content of nearly all edible parts of the human body—from loin to ribs to tender rump—and concludes that when people have eaten people, it usually hasn't been for the nutrition.
Most incidents of human cannibalism occurred during the Paleolithic period: roughly from 2.5 million to 10,000 years ago, a range that easily includes the first appearance to Homo sapiens. To the untrained eye, human remains are just human remains, and once the flesh is off the bone it's impossible to determine if it decomposed or was devoured. Archaeologists, however, are experts at spotting the unlovely clues that a body became a meal, including parallel cut marks on bone; the absence of the base of the cranium, which would provide access to the brain; and jagged breakage or scorching of bones, both of which suggest attempts to get at the marrow.
Relying on such anthropological forensics, scientists have discovered a handful of sites of where cannibalism unmistakably took place—many of them across ancient Europe—with as few as five and as many as 30 victims per site. To determine the reason behind the feasts, Cole began by analyzing existing data on the chemical composition of the human body, specifically on an adult, male human body weighing an average of 110 lbs (50 kg). That's small by modern standards, but not by ancient ones; a single man would contain about 66 lbs (30 kg) of lean muscle mass. But he would be made of more than just his choice cuts; he'd also be stomach, heart, lungs, body fat and all of the offal humans regularly consume when it comes from other species.
Adding that all up, one man would represent a walking grocery cart's worth of 125,822 calories, 32,376 of which would be lean muscle. The thighs would be among the most nutrient-dense parts, packing in 13,354 calories; the upper arms would provide 7,451 calories; the brain and spinal cord 2,706, the liver 2,569 and the heart just 650.
All of that, however, would not last long—and here is where cannibalism becomes a bad survival strategy. Assuming a minimum daily requirement of 2,400 calories per adult, one anatomically modern human would provide barely half a day's calorie needs for a tribe of 25. For Neanderthals or for anatomically modern humans living in the Paleolithic era—when daily exertion was greater and calorie needs higher—a single human body would stretch for just a third of a day.
Those slim rations compare miserably with other game that was at large at the time. A primitive cow provided 367,200 calories worth of lean muscle mass alone—ten times more than a human; a bison weighed in 612,000 muscle calories; a woolly rhinoceros offered 1.26 million; and the true prize, a woolly mammoth, meant 3.6 million calories of muscle.
What's more, a human being who has been designated as dinner usually does not give up easily. "The mental and physical effort to hunt a hominin would presumably be much greater," Cole wrote in the study, "given the hominins' ability to fight, run and think their way out of the hunt." Prey animals, of course, put up a fight too, but not the kind a person can.
If a good meal was not what ancient humans were after when they ate other ancient humans, what was? Cole concedes that the fossil record doesn't hold many answers. In some cases, a famine or an emergency like the one the Donner party faced might indeed have been at play: meaning cannibalize or die. In others, it could have been ceremonial, as when the brains of relatives were eaten after death. In most cases, however, the reason might have been a primitive form of geopolitics. Then, as now, humans expanded their range by killing, and that leaves a lot of bodies behind.
"It might be that once the kill has happened it would make sense to eat the flesh either as a waste not want not, or perhaps as a warning," Cole wrote in an email to TIME. "In truth we will never really know the true motivations, and they may be different for each episode." What happens in the Paleolithic, it seems, stays in the Paleolithic.
Write to Jeffrey Kluger at jeffrey.kluger@time.com.


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Accredited Online Classes For Counseling 2022 – Get Happier Today
Confronted with joining a frantically long NHS waiting list, Accredited Online Classes For Counseling…Joe Rackham selected online counselling rather. "I simply felt that I couldn't wait any longer– I was motivated and ready to deal with my issues and rather liked the concept of doing so in the convenience of my own house," stated the 29-year-old, who lives in London. After an online search, he discovered a therapist whose profile matched his requirements and booked a chat session for the next day.
Remote, text-based counselling is growing in popularity in the UK. The medical professional app Babylon provides treatment to 150,000 active users, while PlusGuidance, an online counselling service, has 10,000 users. The US-based service BetterHelp also has 150,000 registered UK users (though not all are active). Talkspace, another online treatment platform, reports it has actually 500,000 signed up users worldwide, with a lot of in the US.
Online training encourages therapists on whatever from using emojis to preventing misinterpretations. They likewise require to protect clients' personal information– a concern that has actually caused debate in the US, where huge online therapy platforms have come under the spotlight.
Buckley said patients must examine services' personal privacy policies before registering. "Not all online counselling websites utilize professionally trained therapists or adhere to an ethics policy, so ask your GP for a recommendation in the first circumstances. Just like all sort of services and support, what works for one person might not work for somebody else," he said.
Marc Bush, chief policy consultant at Young Minds, said that while online counselling services are important, "they should not replace in person treatment with a skilled expert. If a young person is struggling, we would motivate them to talk with their GP in the first circumstances, or to contact a recognized service like The Mix, Childline or the Samaritans.".
For Rackham, who has actually generalised anxiety disorder, online counselling wasn't the ideal fit. "I felt it was near impossible for the therapist to really get a sense of the concerns I was handling, as all they had to go from was my typed-out words. I believe I understood after that online session how important social interaction was.
" I'm a huge fan of using innovation in all locations of my life as a service to everyday problems. I have apps for whatever, but when it comes to mental health, you have to select how technology contributes in your recovery very carefully.". Accredited Online Classes For Counseling
Instead, the app prides itself on having licensed therapists and mental health professionals readily available to help individuals by means of text, call or video chat. That's what lots of YouTubers who have accepted sponsorships from the business typically say in their own videos, where they speak on the stresses in their individual lives and sensations verging on stress and anxiety or anxiety. Bobby Burns, Elle Mills, Philip DeFranco, Heath Hussar, Boogie2988, Shane Dawson and ChandlerNWilson are all developers who have actually Accredited Online Classes For Counseling sponsors now.
Much of these creators have actually discussed mental health concerns in the past, however as burnout ends up being a larger topic within the neighborhood– and traditional world– sponsorships including BetterHelp have increased, regardless of the app not being exactly what the developers are promoting.
Talk Space Los Angeles Sara 2022 – Get Happier Today
Biblical Counseling Online Classes 2022 – Get Happier Today


an excessive act of debauchery with no regard to later repercussions, that takes place in a public setting between a person known to be susceptible to errors of judgement when intoxicated and another whose identity causes in some major aspect such a flippant display to be seen by the rest of the associated group as inherently and severely amusing, and has strong pertinence with regard to one's future perception and reputation regarding promiscuity, self conduct and ability to select appropriate others in future with which to undertake possible further acts of such debauchery.
Last night, she made a vital mistake when we went out clubbing.
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