text:
Women paying price of Latin America drug wars
Crispy/Flickr
Did you pack that bag yourself? The risk of getting caught is extremely high
After billions of dollars spent and countless lives lost, the war on drugs has been at best a misguided endeavor. IRIN explores the collateral damage wrought by global drug policy in developing countries.
More of this in-depth coverage
As growing numbers of women languish in Latin American jails on drug-trafficking charges, their role in organized crime is under the spotlight - as is the prison system that incarcerates them, and the patriarchal society that appears to be failing them.
Although women still represent the minority of prisoners in these countries, their rates of incarceration are increasing much faster than those of males. The number of female inmates, which has been rising since the 1980s, became more pronounced in the 1990s, when stricter drug laws were enacted. From 2006 to 2011, the number of women prisoners in Latin America nearly doubled from 40,000 to over 74,000, according to an October 2013 briefing paper by the International Drug Policy Consortium (IDPC).
Most women prisoners are incarcerated because of drug-related crimes - usually trafficking. In Brazil, for example, 60 percent of women prisoners are in jail for trafficking. In Ecuador, while only 18.5 percent of female prisoners were in prison for drug offences in 1982, that figure now stands at 80 percent. The same upward trend is apparent in most Latin American countries, where an average of 70 percent of incarcerated women are doing time for drug-related offences.
Just why so many women are being held and tried on drug-trafficking charges, as well as the devastating impact of their incarceration on them, their families and broader society, were discussed at a panel discussion at the UN in New York earlier this month, where drug policy experts, including leading officials from Uruguay, spoke about the need for both drug policy and prison reform.
The high incidence of women in prison on drug-trafficking offences came to light when women criminologists conducted research on women in the prisons generally, said Coletta Youngers, panel moderator and IDPC member.
"Expendable drug mules"
So many of the women serving time or waiting to be sentenced were incarcerated for carrying drugs. The women, who tend to be uneducated and poor, are usually "on the lowest rungs of the crime ladder", according to the IDPC briefing report.
Recruits are often unemployed or have earned money doing domestic work, informal trading or sex work. They work as couriers or "drug mules", usually transporting small amounts of cocaine or heroin across borders, where the risk of being caught is extremely high. Drug trafficking is seductive because it allows women to earn money while carrying out traditional home-based roles in the family. They are paid small amounts for their "services" in comparison to male couriers or those above them on the criminal network ladder, for whom the monetary rewards from drug-trafficking are far greater. The women couriers, however, "serve as expendable and easily replaced labour for transnational criminal networks".
"Many of these women seemed unaware of the risks involved when drawn into the trade by their partners or families, who would tell them: 'Just carry this. Nothing will happen; everything will be alright'. "
The "mules" carry drugs in their luggage, strapped to their bodies or swallowed in capsules. Usually several "mules" are put onto international flights so that even if some are caught, others will get through. Commented Youngers: "We have big machinery to fight drug-trafficking but we are filling up jails with people who have never had any opportunity at all. Their first contact with the state is usually when they end up in prison."
Many of these women seemed unaware of the risks involved when drawn into the trade by their partners or families, who would tell them: "Just carry this. Nothing will happen; everything will be alright." These words were repeated constantly by the women, say the researchers. Expected to stay at home and be breadwinners in a patriarchal society where going out to work is looked down upon, they are nevertheless frequently left to raise their children singlehandedly, under great pressure to feed, clothe and school them.
Gender issues, drug policy and prison
Corina Giacomello, panelist and author of the IDPC briefing paper, Women, drug offenses and penitentiary systems in Latin America, said analysing the plight of these women was an opportunity to confront three intersecting problems: gender issues, drug policy and prison policy. "We don't usually see the connections between these issues, but these women are like a mirror, they're an intersection of all these things."
Once they are inside, the exploitation and abuse continues. Most of the women lack the knowledge or funds to access lawyers and may spend years awaiting trial.
According to a January 2014 report by the Organization of American States most of the women jailed on drug offences are awaiting trial as prisoners.
They are usually separated from their children - or housed together with them in terrible conditions. Latin America's prisons are already infamous for overcrowding, inhumane conditions, violence and lack of any rehabilitation programmes. Added to this is the sexual exploitation of women who are repeatedly raped by prison warders and other inmates. "Prison is a masculine space built by men for men," said Giacomello, adding that the penal system is ill-equipped to cope with the growing numbers of female prisoners, who may be pregnant, nursing, or mothers of small children.
Spotlight on Uruguay
Three top-level government officials from Uruguay spoke about the move to infuse human rights into the country's drug policies. Already Uruguay has come under the spotlight for legalizing the trade and not simply the use of marijuana. Gonzalo Koncke, Uruguay's permanent representative to the UN, said: "We need to apply the law sensibly to fight organized crime."
But Gabriela Olivera, from Uruguay's national drugs secretariat, told the panel that many of the changes being made to address the conditions in prisons were mainly being targeted at men. When women are sentenced, they tend to get stigmatized and cast out. "When they start their sentences they are often abandoned; they don't get visited. They can spend months without seeing their children. This leads to health and mental health problems," she said.
"In addition to the potential breakdown of their families, abandonment by their parents and loss of property, incarcerated women face disproportionate levels of social stigmatization," says the OAS report.
Women in jail in Uruguay make up less than 10 percent of the prison population and around one third of the women are also drug addicts, Koncke said. Most are addicted to paco or coca paste, a cheap cocaine derivative that is wreaking havoc on communities in Uruguay. Many are hopeful that the legalization of marijuana will help steer people away from coca paste and may ease the withdrawal symptoms associated with stopping it. Others fear, however, that it will provide a gateway for coca paste. Still, there is hope that the legalization and government regulation of the marijuana trade will at least take away significant muscle from the drug traffickers.
Leonel Briozzo, vice minister of public health in Uruguay, told the panel that prisons were places where people could learn more about illegal activity rather than rehabilitate themselves. "We have to understand that jails are not the correct places for people to stop using drugs. Real transformation needs to take place," he said. Among the recommendations are initiating more campaigns to make women more aware of the risks of trafficking drugs, as well as applying the UN Bankok Rules to cater more effectively for the needs of women in the prison system.
Giacomello said that for too long "drug policy has stayed in a kind of ivory tower" divorced from human rights or gender policy. "We need to make drug policy penetrable from a human rights perspective," she said.
pg/cb
Why these 10 humanitarian crises demand your attention now
Meet the women fighting Myanmar's junta


text:
Handing down stories.
Laura Demanski, AM'94
Spring/18
What's the last book you read by an alum? Was it by someone you knew, or are only one or two degrees of separation from? The book on my nightstand now, and the one queued up after it, are by alumna Janet Lewis, PhB'20. She's not too well remembered today, and even I first learned of her as the wife of Yvor Winters, EX'21, the poet and critic who became best known as a teacher of poets.
Lewis herself began as a poet before turning to historical fiction, which she wrote while raising children and keeping a household that served as a sometime home to many of Winters's students. She wanted to take up fiction but felt she lacked a story to tell, so she turned to historical figures including Martin Guerre and John Johnston.
The Irish Johnston, whose life events sparked her 1932 novel The Invasion: A Narrative of Events Concerning the Johnston Family of St. Mary's, came to Lake Superior in 1790 to make his fortune and married into an Ojibwa chief's family. Lewis, who grew up in Oak Park, Illinois, spent long summers in northern Michigan and heard stories of Johnston and his wife, the Woman of the Glade, from their descendants, to whom she dedicated the book.
Much as Lewis learned about Johnston through a chain of family members who'd carefully tended the stories handed down to them, so the UChicago writers' community Lewis belonged to is connected from the institution's beginnings to today. Classmates of mine studied fiction writing with the late Richard Stern, who in 1991 drove from San Francisco to Los Altos, California, to visit Lewis, then 91. He spent a whole day at her home hearing about UChicago in the 1910s, her Poetry Club friends there, and the rest of her life, and recorded it all in a 2003 Virginia Quarterly Review essay.
How sharply happy I was to find Stern's essay online. It wouldn't have existed but for him having run across a book in the Regenstein poetry stacks, and but for Lewis's long life and long memory—a lucky thing it was.
Much of the joy of editing the Magazine is in helping hand down what UChicagoans remember. This issue is no exception. Former president Hanna Holborn Gray's new memoir An Academic Life, the subject of "The Long View," deepens the well of stories that make up our history as a University. One letter writer shares a melancholy story about Enrico Fermi, vouchsafed to him by his alumnus father, Fermi's physician; another relates his own tale of being gently hazed by Robert Maynard Hutchins himself.
We at the Magazine, and your fellow readers, treasure your stories and need them like air. Please keep sending them.

redpajama_set_name: RedPajamaCommonCrawl


For helpful information about common dental emergencies click on the link below.
The Dental Emergencies Sheet is in Adobe Acrobat (PDF) format. If you do not have Acrobat Reader, get a free copy by clicking on the link below.
Baby teeth are there for a reason. They help to: chew food, develop proper speech , guide permanent teeth, hold space for permanent teeth and provide esthetics. Maintaining baby teeth in good health is crucial for development of permanent teeth. The health of the baby teeth can determine the health of permanent teeth.
As soon as the baby teeth erupt.
Dental caries or "cavities" are caused by bacteria and can spread from one tooth to another. Dental caries is an infectious disease. This is why brushing, flossing and rinsing are important to keep the level of harmful bacteria low.
Drink plenty of water and milk.


text:
Q: table or view doesn't exist error I'm using Oracle XE, in which i was making my own custom trigger. For that, I've made two tables INSERTED and ORDER_INFO in the SYSTEM schema, both have the same column name ORDER_ID, ORDER_DATE. In my scenario, client will be placing his/her order then, order information will be stored into INSERTED table, then by using this trigger, it'll insert into another table ORDER_INFO after satisfying the condition.
this is what i got till now,
CREATE TRIGGER tri_check
   AFTER INSERT ON inserted FOR EACH ROW
DECLARE
BEGIN
   IF :new.order_date < (SYSDATE + 2)
   THEN
       RAISE_APPLICATION_ERROR(-20000, 'You cannot take an order to be delivered less than 2 days from now');
   ELSE
      INSERT INTO orders_info (order_id, order_date)
      VALUES (:new.order_id, :new.order_date);
   END IF;
END;

While executing the above query, i'm getting this error
ERROR at line 7: PL/SQL: ORA-00942: table or view does not exist
5.    IF :new.order_date < (SYSDATE + 2)
6.    THEN
7.        RAISE_APPLICATION_ERROR(-20000, 'You cannot take an order to be delivered less than 2 days from now');
8.    ELSE
9.       INSERT INTO orders_info (order_id, order_date)

Need Help !!

A: It's because you do
INSERT INTO orders_info
instead of
INSERT INTO ORDER_INFO

redpajama_set_name: RedPajamaStackExchange


text:
Sturtevant: Repeat Offender
After 50 years in the art world, Sturtevant—a true American original best known for her remakes of 1960s masterworks—is finally getting her due. W meets the octogenarian enfant terrible.
by Christopher Bagley
We were saddened to learn that Elaine Sturtevant passed away yesterday in Paris at age 89 just as we published this profile of her. We feel honored to share the story of this formidable artist with you.
*On a nondescript side street in the Les Halles district of Paris, seven floors above a convenience store in a building with no elevator, there's a modest apartment with some eye-catching things on the walls. In the living room is what looks like one of Jasper Johns's iconic Numbers paintings, and the entryway is plastered with floor-to-ceiling images of pink cow heads—Warhols, evidently. In the bathroom, along with a photo of a stern-looking woman dressed as Joseph Beuys dressed as John Dillinger, there are jumbo white-on-black sketches of penises and vaginas. Discerning eyes will recognize the images from Robert Gober's Male and Female Genital Wallpaper,* 1989.
"Whenever a plumber comes over, he gets so nervous," says the apartment's owner and sole occupant, the 89-year-old American artist who goes by the name Sturtevant. "I'll say, 'Would you like some water?' And he'll say, 'No, thank you!' He just wants to get out of here."
Plumbers are not the only ones who might be surprised to learn that the wallpaper, along with the Warhols and the Johns and the large photograph of a Hellmann's mayonnaise label are, in fact, original artworks by Sturtevant. The artist got her start by replicating the works of the art stars of the 1960s, long before the craze for appropriation took hold in the art world, on the Internet, and in the culture at large. Now, after more than 50 years as an enigmatic art world outlier, Sturtevant, who has often felt more of a kinship with French post-structuralist philosophers than with the hot artists of the day, finds that she is in the strange position of being a hot artist herself. Her contributions are undergoing a major reappraisal: At the 2011 Venice Biennale, she was awarded the Golden Lion for lifetime achievement, and this November she will have her first major American museum show, at the Museum of Modern Art, in New York. "Sturtevant's work is very 'now,' and even her pieces from the '60s look as fresh today as they did when she created them," says the curator Hans Ulrich Obrist, who oversaw a retrospective at London's Serpentine Gallery last year that drew record crowds. Citing the work's unique blend of urgency and timelessness, as well as its growing impact on younger generations of artists, Obrist dubs Sturtevant "one of the most important artists of the 21st century."
Few people saw that coming in New York in 1965, when she had her first solo exhibition, featuring her versions of a Frank Stella concentric painting, a Jasper Johns flag, and dozens of Andy Warhol silk-screened flowers. The works, she emphasized then, were not copies but "repetitions"—likenesses that she created from memory and sold as her own. Many viewers and art critics were appalled, dismissing the show as an assemblage of shameless forgeries. Others praised it for the wrong reasons, figuring that Sturtevant was mocking the pretensions of contemporary art by showing how easily the works could be reproduced.
Lost on most people were the work's conceptual underpinnings and Sturtevant's real intent: to use repetition as a device for getting beneath Pop's shiny surface and revealing what she calls the "understructure of art." Although her work has become increasingly complex in recent decades as she's branched into video and other media, Sturtevant is still essentially trying to get the viewer to question what he or she is seeing. When you look at a Robert Rauschenberg that you know isn't really a Rauschenberg, Sturtevant says, "one of two things happens. Your head either goes forward or it goes backward." If it goes backward, you dismiss the work as a worthless copy. "Forward is, 'Oh, my God, what is that? How does that work?' "
From the beginning, Sturtevant (whose full name is Elaine Sturtevant) showed an uncanny instinct for zeroing in on the work of contemporaries who would later be recognized as masters, beginning with the Pop figures and later with conceptualists such as Beuys. (Yes, that's her in the bathroom photo, re-creating Beuys's imitation of Dillinger.) Some of these artists had no objection to Sturtevant's facsimiles. In the mid-1960s Warhol actually gave her a silk screen so that she could reproduce his series of Marilyn Monroe portraits—though Sturtevant cautions against misinterpreting that gesture: "Everyone says, 'So, Andy really understood!' Well I don't think so. I think he didn't give a fuck. Which is a very big difference, isn't it?" (Once, when Warhol was asked about the details of his silk-screening process, he said, "I don't know—ask Elaine Sturtevant.")
Other artists were far less receptive. In 1967, when Sturtevant re-created Claes Oldenburg's installation The Store—a faux boutique of crudely made sculptures of household items, including everything from men's shirts to blueberry pies—a few blocks from the East Village site of his original version, Oldenburg "freaked out," she recalls. "And he'd been very much in favor of my work. I said, 'You can't do that, Claes! You can't be for me, and then be against me when I do your store.' " Oldenburg's dealer, Leo Castelli, is said to have felt so perturbed by Sturtevant's pieces that he bought some of them in order to destroy them. "I believe it," she says.
Peter Eleey, the curator of the MoMA exhibition, says Sturtevant recognized early on how thorny her chosen path would be. "In order to achieve what she was interested in, she would essentially be giving up everything you were told as an artist that you needed to succeed—a recognizable style, et cetera," he says. "She's somebody who basically adopts style as a medium, and in order to do that she assumed the guise of the artists around her. This is an incredibly powerful and threatening thing to take on."
Sturtevant, in any case, has never been what you'd call a people pleaser. Notorious for a kind of impatient, suffer-no-fools gruffness, she acknowledges that her fearsome reputation is entirely deserved. "I am difficult," she says. "If I don't like somebody, I tell them." On the rare occasions that she has sat for interviews, she's been known to cut things short with remarks like "Dumb question!" During Q&A sessions at museums, her acerbic or abstruse answers have sometimes left the audience silent, either too baffled or too frightened to ask her anything.
When she's in the right mood, however, as she is on this chilly afternoon in Paris, Sturtevant is very good company, dishing out hard-earned wisdom and sharp humor in equal measure. Perched on an armchair in her living room, wearing a gray cardigan and deep-white nail polish, she seems simultaneously spry and frail—perennially on the verge of leaping to her feet but unable to make it happen. An Ohio native who has lived in Paris for more than 20 years, Sturtevant speaks with a slight Midwestern twang that's often punctuated by a raucous cackle. When discussing the annoying habit that some Parisians have of speaking English to all foreigners, even those who try to speak French, she says, "If you start in French, they'll reply [in English], 'What would you like, Madame?' And I want to say, 'Fuck you!' " Later, she apologizes for her language and blames it on watching too much HBO: "Every other word on those shows is 'fuck,' so it has become part of my vocabulary."
Since the beginning, Sturtevant says, she knew that her work would eventually have an impact. If her self-assurance helped sustain her artistic drive, it also invited further criticism. "People don't like you if you're too confident—have you noticed that?" she says. "Boy, they really get angry. It's like, 'Get rid of her.' " The art world did manage to expel Sturtevant for a full decade beginning in 1974, when she stopped working entirely, fed up with seeing her work misinterpreted. "No matter how I articulated what I was doing, in people's minds it was a copy—period," she says. "And you know, if someone continues to call something something, it eventually becomes that something."
Sturtevant has never said much about what she did during that 10-year hiatus, aside from an oblique remark about playing a lot of tennis, which some saw as yet another copycat move—an homage to the artist Marcel Duchamp, who stopped making art so that he could devote himself to chess. Today she says the statement can be interpreted literally: She used to take the train from New York to hit the courts at a friend's tennis club in Washington, D.C., where her opponent was a man whose serve was too fast to return.
Many details about Sturtevant's private life and her formation as an artist remain a mystery, even to friends. It's known that she was born in 1924 in Lakewood, Ohio. She was married, and she has a daughter, Loren, who helps her in the studio, and two grandsons. Pressed for details about her childhood in Lakewood, she offers, "You know, tree-lined streets. Suburbia." She recalls doing a lot of sketches as a kid—"drawing inanimate objects in order to make them animate."
In college at the University of Iowa, when she took an introductory course in philosophy, the professor invited her to his graduate seminar. "It was Nietzsche, Hegel, Schopenhauer, all sorts of weird guys, and that was wonderful," she recalls, running her fingers through her short pixie-meets-punk gray hair. "And, of course, after I got out of college I continued my study of Nietzsche. Today every once in a while someone will say to me, 'Oh but you're so negative!' And I say, 'Well, I come out of Nietzsche.' "
When she emerged from her hiatus, in 1986, with a show at White Columns in New York that included her re-creations of works by Duchamp, Beuys, and Roy Lichtenstein, Sturtevant had gone deeper into the writings of Michel Foucault, Gilles Deleuze, and other philosophers who explored notions of appropriation and repetition. Meanwhile, the art world seemed more ready for her, having embraced a newer wave of appropriation artists like Richard Prince and Sherrie Levine, whose After Walker Evans series—photographs of Evans's photographs—brought a postmodern, feminist slant to the discourse about originality and authenticity. Sturtevant says that her own work continued to be largely misunderstood but adds that Levine and the appropriationists were crucial in helping to clarify it, because she was able to define herself in opposition to them.
In 1991, the Austrian dealer Thaddaeus Ropac, who'd recently opened a space in Paris, took the bold step of devoting an entire show to Sturtevant's re-creations of Warhol's flowers. None of them sold. "France was always more open toward Sturtevant, since there was a greater understanding of her work in philosophical terms," Ropac says. "But for years and years, we couldn't sell the work. We did about 12 shows where nothing sold at all." At a time when she seemed destined to forever remain an artist's artist, appreciated by only a few insiders, Sturtevant was producing increasingly elaborate pieces, including a large-scale Anselm Kiefer airplane made of lead, for which she hired two sculptors to help. "We got to the point that it was almost finished," she remembers. "And the last thing I did was the nose of the plane. It required taking a piece of lead and turning it while pressing. And I did it over and over, and I never could get it right. The wonderful thing is that when Kiefer saw the finished plane, he said, 'You know, I would think that was really my plane—except for the nose.' "
Three years later, when Sturtevant had moved to Paris full-time and started making video work, European museums and collectors began slowly circling her. In 2004, Udo Kittelmann, then director of Museum für Moderne Kunst, in Frankfurt, invited her to take over the entire building for a solo show that she treated as one giant installation, based on concepts of tension and tonality. "Sturtevant's exhibits have always been total works of art," says Obrist, who recalls how the artist, drawing on her interest in cybernetics, prepared for last year's Serpentine show by "reading the space and creating feedback loops," while coming up with "an amazing series of inventions" regarding rhythm, sequencing, and sound. Pretty much anyone who spent time in Kensington Gardens last summer still remembers Sturtevant's lineup of blow-up sex dolls, most male and some half-inflated, staring vacantly out the gallery's floor-to-ceiling windows.
Julia Stoschek, the prominent young video-art collector, snapped up nine of Sturtevant's time-based pieces just before the Serpentine exhibition opened. "It was the last chance to get them," says Stoschek, who went on to organize a solo show with Sturtevant, now on view at her private space in Düsseldorf, Germany. At the entrance is a new video piece re-creating Diesel's 2010 "Be Stupid" ad campaign. "Just think about it—Sturtevant was in her 70s when she decided to expand into the field of moving images," Stoschek says. "And she is still one of the most contemporary artists out there."
Indeed, one reason Sturtevant is a major reference for much younger artists such as Trisha Donnelly is her cold-eyed take on digital culture, whose frenzied hollowness she seems to have anticipated 50 years ago. In a world where repetition seems to have replaced reality—where a tweet only truly becomes a tweet when it has been retweeted—Sturtevant is looking more and more like a prophet. Walking into her home, you half expect to find her behind a bank of LED monitors, but her only apparent concession to gadgetry is an iPhone, which she rarely uses. ("Most people are always picking up their phones to see if they have a message," she says. "I never pick mine up, even when it rings.") Sturtevant has an e-mail address but reads her messages only once a week, when someone retrieves them for her. To really understand the Internet, she asserts, the last place you want to be is online. "It's such a trap. Once you start looking at the Internet, that's all you're doing. So I spend my time reading, thinking, things like that."
The resulting artworks often feature belligerent, beat-heavy soundtracks and fragmented barrages of found -images. Much of the source material for Elastic Tango, 2010, a stack of nine video screens that recalls the home-electronics department at Best Buy, was recorded straight from Sturtevant's TV set. "She'd be sitting there, and something would come up and she would tape it," Eleey says. Gavin Brown, the New York gallerist, is one of many who've lately discovered her pieces to be perfectly attuned to the anxieties of the day. "To be honest, I was just as ill-informed about Sturtevant's work as most people are," says Brown, who invited her to join his roster in 2011. "It has been a kind of lonely journey for her, waiting for us to open our eyes and ears. But it has happened. It's like she has blown the dust off what we thought was reality and revealed the actual reality underneath."
If the upcoming MoMA show represents a major validation for Sturtevant, considering the long decades she was ignored, MoMA's institutional prestige isn't making her any more willing to bend to a museum's view of how her work should be presented. She is famously controlling about every aspect, down to the labeling of the works. "I don't mess around with curators," she tells me, smiling but not joking. When I repeat that line to Ropac, he says, "Artists can't curate their own shows, and I've told Sturtevant that. But she's very stubborn. And her work is so precise. When anything goes outside her own concept, it irritates her." As she gets older, Ropac says, she's become even more particular about any project she agrees to, carefully weighing every move.
For Sturtevant, it's clearly frustrating that at the moment her work is most in demand, her body is least capable of producing it. Friends are dumbfounded by her insistence on remaining in her seventh-floor Paris walk-up, where climbing the stairs is a lengthy ordeal. She also has a studio in Paris but rarely makes it there anymore. A few days before my visit to her apartment, when severe pollution levels in the city were causing health warnings and car bans, we'd spoken by phone; Sturtevant hadn't been outside for days. "The world is really becoming impossible, isn't it?" she'd said.
We've been talking for about 90 minutes when Sturtevant says she's too tired to explain things in the way that she'd like, which is a clear signal that the interview is over. Before leaving, I ask her why she prefers to use only her last name. She says it's yet another issue that people have misunderstood. The choice has nothing to do with gender or politics, as some have speculated. Instead, it's because of the sound of the word itself, and the sense of force conveyed by its three solid syllables, which she enunciates for me: "Stur-te-vant. It's so strong."
Occasionally, she notes, a friend will make an audacious request. "Someone will ask, 'Can I call you Elaine?' And I'll say, 'No! You can call me Sturtevant.' "
Photos: Sturtevant: Repeat Offender
Portrait of Sturtevant, by Loren Muzzey, 2013.
Sturtevant takes in her Warhol Flowers, 1990, at an exhibition of her work at the Moderna Museet, Stockholm, 2012. Courtesy of Moderna Museet / Asa LundEn.
Installation view of Duchamp Fresh Widow, 1992–2012, Moderna Museet, 2012. Courtesy of Moderna Museet / Asa LundEn.
Pacman, 2012. Courtesy of Moderna Museet / Asa LundEn.
Johns Target With Plaster Casts, 1999. Courtesy of Moderna Museet / Asa LundEn.
Sturtevant as Beuys as Dillinger in Dillinger Running Series, 2000. Courtesy of Galerie Thaddaeus Ropac Paris, Salzburg.
Installation view of Finite Infinite, 2010. Courtesy of Moderna Museet / Asa LundEn.
Installation view of Sex Dolls, 2011, at Serpentine Gallery, London, 2013. Courtesy Serpentine Gallery, London. Photograph: Jerry Hardman-Jones.
Elastic Tango, 2010, a video installation. Courtesy of Moderna Museet / Asa LundEn.
Installation view of John Waters Dorothy Malone's Collar, 2012, and Haring Untitled, 1987, Moderna Museet, 2012. Courtesy of Moderna Museet / Asa LundEn.
Kiefer Voyage au Bout de la Nuit, 1992, at Deichtorhallen, Hamburg, Germany, 1992. © Maike Klein / Deichtorhallen Hamburg. Exhibition Sturtevant at Deichtorhallen Hamburg, 14.8.27.9.1992.
A detail of Trilogy of Transgression, 2004, a three-channel video. Courtesy of MoMA.


This temple in southern Tokyo is over 400 years old, but it's kept with the times with a slick website, weekly sutra copying classes (woo-hoo!) and a chilled-out café session that's held every Sunday afternoon. Recently, it's also been known to host the odd concert.


I sure you must be searching Islamic WhatsApp Group links. If yes, then you have come to the right place In the whatsapp application, there are lots of features available but group conversation is new features. Now, WhatsApp developer some change group conversation system that is whatsapp group invite link features which is same telegram group link features. There are a lot of blogs already provided this post but the problem is all the WhatsApp group are full of the participant. So, the newbie Islamic user can't join these group. To accept the request our Muslim visitor today we write whatsapp groups for Muslim. All the groups provide a facility for all my sweet visitor can enter unlimited group link without any admins permission.
Islamic is a religion and also Musalman people are called "Islamic people". why called this type read next line. Islamic religion originated seven century Muhammad. Islamic people believe Allah, angel, prophet, revelations of Allah and predestination. The main five Pillar of Islamic is The testimony of faith (shahada), Prayer (salat), Giving (zakat), Fasting (sawm) and Pilgrimage (hajj). If you are joining this group, then you can know all the news about it.
Islamic people are very close to their devotions. Islamic people ask their question to get their answer from the mosque many mosques have to make their channel where daily thousands of people ask about love, marriages and many questions that come to their mind. Some students also included in these people who ask about, and its history or origin and many question and answers are arises on these group.
Disclaimer Note:-If you have to face any problems then you can talk to the group admin, He/She will solve your problem. You never break the Group Rule Regulations. Always keep discipline. All the links below are public.
If you want to share some of your groups, then post it to the comment box. And remember one another important thing, If you face any problem, then we will not be responsible for this.


The establishment of the Jinderes Local Council followed that of the Afrin Provisional Local Council.
The Jinderes Local Council comprises of a total of 15 members with 11 Kurds and 4 Arabs, and with Subi Rizik as the elected chairperson.
Chairperson Rizik has declared that the multiethnic council's main objective is to improve on the town's schools and health facilities, develop its sewage system, and enhance its security infrastructure.
As does the Afrin council, Jindires' local council will also operate under the council of Aleppo.


text:
Gamers Now Obsolete: Microsoft AI Achieves Perfect Score In 'Ms. Pac-Man'
14 June 2017, 9:33 pm EDT By Aaron Mamiit Tech Times
An artificial intelligence system created by Microsoft achieved the perfect score in the 1980s arcade game Ms. Pac-Man, a goal that has long eluded gamers.
The feat was done by Maluuba, a deep learning startup that Microsoft purchased early this year. The team used a divide-and-conquer method that may have significant implications in how artificial intelligence systems can be taught to carry out complex tasks in place of humans.
Microsoft AI Scores 999,990 In 'Ms. Pac-Man'
The artificial intelligence system that Microsoft researchers from Maluuba created was able to play the Atari 2600 version of Ms. Pac-Man flawlessly, achieving the maximum score of 999,990.
The feat has not been achieved by human gamers, even after so many years of trying. The highest score that a human has ever reached in the Atari 2600 version of Ms. Pac-Man is 266,330, with the perfect score of 999,990 only obtainable by using cheat codes.
According to McGill University associate professor of computer science Doina Precup, the perfect score is a significant achievement in the field of artificial intelligence because Ms. Pac-Man is a very difficult game for the technology. Ms. Pac-Man was programmed to be even less predictable than the original Pac-Man, designed in such a manner so that players will keep dropping their quarters to beat high scores.
How Did AI Beat 'Ms. Pac-Man'?
The road to the Ms. Pac-Man perfect score required researchers to divide the task of mastering the arcade game into small pieces that were then distributed to more than 150 artificial intelligence agents.
This method, named by the Maluuba team as Hybrid Reward Architecture, had the agents working together to achieve the perfect score in Ms. Pac-Man. While some agents received rewards for finding specific pellets, others focused on keeping distance from the ghosts. The team then created a top agent, which received suggestions from all other agents and decided where Ms. Pac-Man should move.
The top agent considered the number of agents pushing forward a suggestion, but also made its decision based on the intensity of the suggestions. One given example was when 100 agents wanted to go right to pick up a pellet, there were three agents that wanted to head in another direction to escape a ghost. The top agent would give more weight to the three agents so that Ms. Pac-Man would not get caught.
Video Games To Train AI System
Using video games to train artificial intelligence systems is not new.
In February 2015, a report revealed that Google's DeepMind artificial intelligence system was able to learn how to play old games on the Atari 2600 just by watching humans play. Deep Q-Network, the AI gamer powered by DeepMind technology, was able to play 49 different titles and beat the top scores of skilled human gamers in more than 20 games.
In November 2016, after defeating South Korean world champion Lee Sedol in the ancient board game Go, DeepMind moved on to a bigger challenge of trying to master StarCraft II.
Ultimately, the goal in the creation of artificial intelligence systems is to assist humans in their tasks, and in some cases replace them so that humans can focus on other activities. Who knew that Ms. Pac-Man would somehow be involved in such an endeavor?
Microsoft, Artificial Intelligence, Maluuba, Ms. Pac-Man, Pac-Man
Elon Musk Wants To Fuse Artificial Intelligence And Your Brain Together With His New Company Neuralink
Stephen Hawking Warns Of Robot Apocalypse: Here's How Humanity Can Protect Itself From Artificial Intelligence
Artificial Intelligence: It's Not Man vs Machine, Say IBM And Google
Facebook Bolsters Suicide Prevention Efforts With New Tools Powered By Artificial Intelligence
Samsung Betting Big On Artificial Intelligence, Looking To Spend $1B Acquiring AI Companies: Report


The Silver&Fit Program can help you improve the quality of your life, and will give you the tools to have a healthy lifestyle. As a Silver&Fit member, you'll get to exercise more, participate in fun fitness classes and be more social.
The Silver&Fit program is eligible to both Platinum Blue AND Senior Gold participants.
Participants may contact Silver&Fit member services by calling the toll-free hotline at (877) 427-4788.
Customer service is available Monday through Friday 7 a.m. - 6 p.m. (MST).
For more information, and how to find a participating fitness facilities near you click here.


Prerequisite: Admission to the Master of Science in Psychological Science program.
Description: This course will explore topics of current importance in psychology. Topics may be initiated by faculty and/or students in consultation with the department chairperson. No more than three hours may be counted as part of the MACP or MAGP programs.


Octopus Box is a result of developers' personal solutions which makes it the most dependable service tool on the market.
Octopus Box use LG, Samsung and Phone Models by JTAG phone for make Flash/Unlock/Repair service tool. At the instant Octopus Box is an updatable and useful Flash/Unlock/Repair solution for available on the market.


text:
import arrayfire as af

# Display backend information
af.info()

# Generate a uniform random array with a size of 5 elements
a = af.randu(5, 1)

# Print a and its minimum value
af.display(a)

# Print min and max values of a
print("Minimum, Maximum: ", af.min(a), af.max(a))

redpajama_set_name: RedPajamaGithub


text:
Posts tagged with "AL East"
MLB: Tanaka Solid in First Major League Outing
Japanese phenom and this past off-season's most sought after free agent, right handed pitcher Masahiro Tanaka made his Major League Baseball debut Friday for the New York Yankees. He is known for going 24-0 last season with the Tohoku Rakuten Golden Eagles of the Pacific League, which is one of two leagues that make up Japan's...
Injury Update: Machado Suffers Setback
The Baltimore Orioles Platinum Gold Glove winning third baseman, Manny Machado, has suffered a small setback on his recovery from knee surgery. Machado was injured his left knee towards the end of last season. It was a scary scene and he was carted off the field. After the surgery the word was that Machado's recovery was...
Face of MLB Competition: Down to the Final Four: NYM, OAK, SEA, TOR
If you haven't heard about it yet then you must not have a Twitter account. MLB Network's (MLBN) Face of MLB is a bracket-style competition that faces off each of the fan voted "face of the franchise" players against each other. The competition is now down to the Final Four: David Wright of the New York Mets, Eric Sogard of the...
MLB: 2014 Division Predictions
As we head into Spring, counting down the days to Opening Day, it's time to write up my predictions. We have seen some truly astonishing things this off-season, including; Jay Z earning Robinson Cano a mad $240 million deal, Masahiro Tanaka becoming the fifth highest paid pitcher in baseball history in order to don the...
MLB 2014 Predictions: Divisions, Awards, Playoffs and World Series
The long, cold winter is nearing an end; Spring Training has begun for some teams and for others it soon will. The 2014 MLB season is upon us! For those that have been following Sports Unbiased for the last year, you know how much we love our predictions. As a site, we will get all the writers together, have them vote on who they...
MLB: American League West 2014 Preview
The Oakland Athletics stormed to the division title, the Texas Rangers narrowly missed out on the Wild Card, the Los Angeles Angels of Anaheim massively underperformed, the Seattle Mariners had a poor losing season and the Houston Astros continued their shocking form. Since then, each team has gone about adding the missing pieces to...
New York Yankees: Off-season Review and 2014 Prediction
2013 was a weird year for the New York Yankees and their fans. Due to injuries, they never had their primary lineup in the field. However, they were still in the playoff hunt until the last week of the season which goes to show the heart of the players on this team and just how good a manager Joe Girardi actually is. The Yankees...
Masahiro Tanaka Signs with Yankees
Get ready for this one folks, it is going to be a huge shock. Japanese phenom, RHP Masahiro Tanaka, has finally chosen a home - a home in New York. This winter's most coveted free agent has signed with the New York Yankees at least according to a source who passed the breaking news on to ESPN's Buster Onley. The contract is...
MLB Suspends Alex Rodriguez, 12 More Connected to Biogenesis: Fallout?
Welcome to another addition of "As the AROD Turns" only this time is has special guest stars in the names of Nelson Cruz, Johnny Peralta and 10 others. MLB has announced its suspensions of the players linked to the now defunct South Florida anti-aging clinic, Biogenesis. 12 players were handed 50 game suspensions while Alex...
Yankees Trade Rumors: Chamberlain for Phillies Michael Young Makes Sense
The Philadelphia Phillies are still in striking distance in the National League East only 6.5 games out of first place and closed out the first half of the 2013 season on a bit of a roll. Why trade Michael Young? Why not keep the veteran for the stretch run? For one, Young is drawing a lot of interest and sometimes that is just too...


Photo by Bella from the Torontoist Flickr Pool.
The average price of a detached Toronto home is $1.07 million.
Household incomes in our richest neighbourhoods grew by 80 per cent over the past few decades, while they rose by just two per cent in the poorest communities.
This Thursday, Hogtown Talks hosts their first panel discussion, entitled "Be it Resolved: Is Toronto a Playground for the Rich?," a question that seems largely rhetorical in light of recent studies pointing to our city's rapidly accelerating rate of income inequality—a rate that's twice the national average.
In advance of their discussion, Torontoist spoke with panelists Andray Domise, Shawn Micallef, and Jacquelyn West about why Toronto is particularly affected by income inequality, the ramifications for our growing city, and what we as individuals can do to create a more equitable community.
In 2015, the World Economic Forum named rising inequality as the single greatest threat to the global economy, pointing to its association with poorer health and education outcomes, higher rates of mental illness and incarceration, and decreased levels of social mobility—all of which have been well documented here in Toronto.
Recent cuts, such as the provincial government's to ODSB and welfare and stagnant municipal investments in subsidized childcare, will surely exacerbate the problem. However, Micallef argues the warning signs for Toronto have been there for generations: "There are four decades of reports warning of this trend, but nobody wanted to hear it. Even though the middle class was shrinking and it was getting harder for many, nobody wants to think, or admit, they're in trouble. It's why politicians like to talk to 'the middle class.' We all think we're part of it, even if we're working and living precariously.
So what can Torontonians do in the face of global forces, political resistance, and a climate of apathy to slow our rate of stratification?
"Be it Resolved: Is Toronto a Playground for the Rich?" will be held at 12 Ossington Avenue, 7 p.m. on January 14. $5 cover, with all proceeds going to the United Way.


text:
Q: Python. Обработка события получения данных при программировании TCP сокетов Нужна помощь.
Есть клиентский сокет, который отправляет данные при получении команды от сервера.
При получении одной из команд клиент должен отправлять одни и те же данные ( неважно какие, хоть строку) постоянно, пока от сервера не поступит команда на остановку этого процесса. Как это сделать?
from socket import *
import sys
import math

host = 'localhost'
port = 1111
addr = (host, port)

while True:
    tcp_socket = socket(AF_INET, SOCK_STREAM) #создание сокета
    try:
        tcp_socket.connect(addr) #подключение к серверному сокету
    except Exception:
        continue
    while True:
        comand = tcp_socket.recv(10000000)
        comand = bytes.decode(comand)
        print(comand)
        if comand == '111222':
            s = []
            t = 0.002
            j = 0
            for i in range(4000):
                x = 2 * 3.14 * 50 * t
                y = round(40 * math.sin(x), 3)
                s.append(y)
                j += 1
                t = 0.00015 * j
            dod = s
            print(dod)
            data = str(dod)
            data = str.encode(data)
            tcp_socket.send(data)
            break
        else:
            break
        break

A: Клиент подключается к серверу, получает команду (заканчивается новой строкой:  '\n') и начинает отсылать строки, пока не поступит команда остановки (не тестировал):
#!/usr/bin/env python3
import socket
import threading

def send_loop(write, done):
    while not done.is_set():
        write(b'something\n')

done = None
with socket.create_connection((host, port)) as sock, sock.makefile() as file:
    for command in map(str.rstrip, file):
        if command == 'start' and done is None:
            done = threading.Event()
            threading.Thread(target=send_loop, args=[sock.sendall, done], daemon=True).start()
        elif command == 'stop' and done is not None:
            done.set()
            done = None

чтобы прервать цикл, используется done событие. Три состояния:

*

*done is None: клиент ничего не посылает, ожидает команду 'start'

*not done.is_set(): клиент посылает данные, ожидает команду 'stop'

*done.is_set(): дочерний поток завершается, выходя из цикла. Переходим в 1-ое состояние, устанавливая done = None.


Trump Tower at City Center is a 35-story condominium located in the city of White Plains in Westchester County, New York. It was completed in 2005, and it opened on September 21 of that year with 212 residences. The Trump Organization (partnered with Westchester developer Louis R. Cappelli) led the development, sales, and management of the building. The building is attached to a municipal parking building whose rooftop holds the outdoor amenities for the Trump Tower residents. Rooftop amenities include a pool and lounge area, two tennis courts and a paddle board court.
Trump Tower at City Center was the tallest building in Westchester County and the tallest building between New York City and Albany until the 39-story Trump Plaza in nearby New Rochelle was completed.
^ Brenner, Elsa (May 21, 2006). "Homes by (and for) Donald Trump". The New York Times. The New York Times Company. Retrieved January 23, 2009.
^ Brenner, Elsa (December 19, 2008). "A Rebirth Stalls Halfway Through". The New York Times. The New York Times Company. Retrieved January 23, 2009.
Shooting of Kenneth Chamberlain Sr.
This page was last edited on 26 July 2017, at 13:19 (UTC).


text:
The August Vacation Value You've Been Looking For
The London Eye Ferris Wheel. Photo: Celebrated Experiences
Summer has a way of sneaking up on you. Suddenly it's the end of June. If you haven't made your summer vacation plans yet, we can suggest a world-class trip that won't require traveling too far or spending too much. August is an ideal time of year to visit one of our favorite cities: London. It's a short flight (relatively speaking), it's not too hot or crowded in August, you'll find reduced prices for airfare and hotels (and many museums are free), and of course there's so much to see and do, not only in the city itself but in the plethora of historic villages and sights in the countryside that you can make easy day trips to (which we recommend doing either independently by train or with a private driver-guide). London in August is such a smart move that that's when Wendy took her own family there—and you can read what each of her young sons had to say about it in Do's and Don'ts For Your Trip To London and How and Where to Spot Supercars in London (late summer is the optimal time for that). Here's more from Jonathan Epstein, Trusted Travel Expert for Britain, as to why London in August makes so much sense:
Business travel to London dries up in August, which means more room and better deals in hotels, like The Marylebone. (Photo: The Marylebone)
Hotels are less expensive.
That's because business travel to London dries up in August. "Corporate travel is the bedrock of higher rates in major cities," says Jonathan. "In late summer, these bookings vanish in London." What does this mean for you? Deals. Jonathan negotiates exclusive August offers for his travelers at top four- and five-star hotels. Depending on the location, he might secure discounts on stays over three or four nights, upgrades, complimentary meals, or free cocktails. Ask him about his connections at prime hotels such as One Aldwych, Rosewood London, the Corinthia, the Marylebone, the Milestone and the Egerton. An apartment rental is another way to maximize value, especially if you're a family or large group; learn more about that option in our London Vacation Rentals: Insider's Guide.
The weather is better.
Unlike in many cities in Europe, August temperatures are mild in London. Highs are between 68 and 75 degrees Fahrenheit—and who doesn't want weather like that for sightseeing?
Everything is open, but the crowds are much smaller.
"In many cities like Paris and Rome, attractions and restaurants close in August," Jonathan says, "but in London everything is still open!" Because August is one of the slowest months of the year in London—with fewer tourists and fewer locals—you're less likely to have to wait in lines or battle big crowds as you explore.
Buckingham Palace opens to visitors only a few months each year—during the late summer. Photo: Pawel Libera/London and Partners
Late summer brings special events.
Buckingham Palace is only open to visitors for a short time each year. Guess when? During the late summer. This year, admission includes entry to "Royal Gifts," an exhibition of official gifts presented to the Queen over the past 65 years.
The Old Vic is one of London's most famous theaters. Photo: Pawel Libera/London and Partners
It is easier to get great seats to London's plays and musicals.
When tourists numbers go down—as they do in late summer—opportunities to see some of the West End's famous theater productions open up. (You can see what's playing at LondonTheatre.co.uk and find last-minute deals at TKTS.co.uk.)
This article has been updated; it was originally published in 2016.
London: Insider's Guide (OLD)
by Jane and Philip McCrum | September 12, 2014
London Vacation Rentals: Insider's Guide
by wendyperrin.com | November 17, 2017
How and Where to Spot Supercars in London
by Doug Baker | August 30, 2016
You won't believe all the exotic, high-end supercars you can see in London. Here's how and where to spot them.
Do's and Don'ts for Your Trip to London
by Charlie Baker | September 13, 2016
Just back from a family trip to London, Wendy's teenage son Charlie lists the experiences he enjoyed the most, plus those he feels are overrated.
REAL TRIPS RIGHT NOW
A Safe East Coast RV Family Trip During Covid
This is a Cruise Ship That Smart Travelers Will Love
by Wendy Perrin | March 16, 2016
Kathy at Goseeittravel June 22, 2016 at 13:47
I can report that England IS less crowded this summer! I just returned and lines were manageable…the dollar was strong, and there were deals to be found!


BeschrijvingThe Distinguishing Feature :1,Slim Style,well-match with pants,shorts .2,Plaids design and Bottons with the shirt,great for the men.Description :Material : Cotton blendedColor : Black,Purple,Red,Dark BlueOccasion : CasualSeason : Spring,FallProduct Notes : Fashion Design for men,Soft Simple Style.Details in size :US SizeSMLAsian SizeLXL2XLShoulder46cm( 18.11'')47cm(18.50'')48cm(18.90'')Chest100cm(39.37'')104cm(40.94'')106cm(41.73'')Sleeve Length61cm(24.02'')62cm(24.41'')63cm(24.80'')Length74cm(29.19'')76cm(29.92'')77cm(30.31'')Attention : Please note that you should place your order in US size,however the tags inside the items willshow in Asian size.Package included :1 * ShirtMore details :$#$#Disclaimer :About Size :Size may be 2cm/1 inch inaccuracy due to hand measure.These measurements are meant as aguide to help you select the correct size. Please take your own measurements and choose your sizeaccordingly.we cannot accept responsibility for incorrect purchases.About Color :The precise color of the clothing items may vary depending on the specific monitor,the settingsand the lighting conditions.The items colors depicted should only be used as an approximate guideAbout Review :1. wetry to make sure you have a pleasant shopping experience with us,so that we could do more business with you. If there is any dissatisfaction,please email us before leaving any 1 or 2 ratings,negative feedback .We will try our best to resolve the issues. Please give us the opportunity to resolve any problem.2. If you are satisfied with our service,please leave us a 5 star positive feedback. Your recognition will make us more confident to develop business and serve you better.Bezoek onze webwinkel voor meer interessante producten!


Are you looking for the map of Voznesens'k? Find any address on the map of Voznesens'k or calculate your itinerary to and from Voznesens'k, find all the tourist attractions and Michelin Guide restaurants in Voznesens'k. The ViaMichelin map of Voznesens'k: get the famous Michelin maps, the result of more than a century of mapping experience.


When the seasons change, people are more likely to get sick, so the following suggestions will keep you healthy and comfortable during the winter. It is recommended that you record them on the sticky note, so that you can more intuitively remind yourself how to stay healthy.
Eat more watery foods. Chinese medicine believes that autumn corresponds to the lungs of the human body, while the lungs are the most dry. The easiest way to nourish the lungs in the fall is to drink plenty of water. In addition, you can also eat more watery foods such as pears, yam, sugar cane and duck.
Eat digestible food. People often eat cold foods during the long hot summer months, so their spleen and stomach function is weakened. Therefore, autumn should be good to raise the spleen and stomach. For example, you can choose to eat some nutritious foods that are easy to digest, such as fish, red beans, lotus roots and kelp.
Take vitamin supplements. Vitamins play an important role in the body's immune system. When the body resists foreign invasion, the number and vitality of immune cells are related to vitamins. Recommendation: Eat more fresh vegetables and fruits rich in vitamin C, such as kiwi and orange.
Sleep is an important way for people to restore their strength, ensure health and improve their immunity. In the fall, we recommend that you go to bed at 9 o'clock in the evening or fall asleep before 11 o'clock. From 11pm to 1am, if you have fallen asleep at this time, you can get a good night's sleep.
In recent days, most areas are no longer hot, and people can finally enjoy the cool autumn and relax. However, the temperature difference is large in the morning and evening, and the air is drier. All of these factors can cause dry nose, sore throat, dry cough, sputum, constipation, dry hair loss, hoarseness and other symptoms.
If you are afraid of forgetting, you can buy a sticky note for yourself. Here I can recommend you a platform where you can buy kinds of low price/high quality/hot sales sticky note -- Sellersunion Online, which provides services of wholesale and customization of daily necessities, it is an online trade service platform. I believe you can save your time and money on finding your favorite sticky note.


text:
Q: Displaying data from multiple models on one view (images and text) Hi everyone so I am trying to create an application using asp.net mvc with a code first database that allows the users to be able to create a blog post with as many images as they wish.I have the data stored in the database but I I am currently trying to have the the head, body and images displaying in the display view this is what I would like it to look like : http://imgur.com/a/IR19r but I am not sure how to accomplish this. I am able to display the head and body but cannot get the images from the image table here is the database diagram: http://imgur.com/a/lvwti
Currently this is the error I get  when i add this to the view         @Html.DisplayFor(modelItem => item.Images)

An exception of type 'System.Data.Entity.Core.EntityCommandExecutionException' occurred in EntityFramework.SqlServer.dll but was not handled in user code
Additional information: An error occurred while executing the command definition. See the inner exception for details.

Model
public partial class PostModel
{
    public PostModel()
    {
        Images = new List<ImageModel>();
    }
    [Key]
    [HiddenInput(DisplayValue = false)]
    public int ID { get; set; }
    [Required(ErrorMessage = "Heading is Required")]
    [Display(Name = "Heading")]
    public string Heading { get; set; }
    [Required(ErrorMessage = "Body is Required")]
    [DataType(DataType.MultilineText)]
    [Display(Name = "Body")]
    public string Body { get; set; }
    public virtual ICollection<ImageModel> Images { get; set; }
    public IEnumerable<HttpPostedFileBase> File { get; set; }
}

public class ImageModel
{
    [Key]
    public int ID { get; set; }
    public string Path { get; set; }
    public virtual PostModel Post { get; set; }
    public string DisplayName { get; set; }
}
public class ImageVM
{
    public int? ID { get; set; }
    public string Path { get; set; }
    public string DisplayName { get; set; }
    public bool IsDeleted { get; set; }
}
public partial class PostVM
{
    public PostVM()
    {
       Images = new List<ImageVM>();
    }

    public int? ID { get; set; }
    public string Heading { get; set; }
    public string Body { get; set; }
    public IEnumerable<HttpPostedFileBase> Files { get; set; }
    public List<ImageVM> Images { get; set; }

}

DbContext
public class EFDbContext : DbContext
{
    public DbSet<PostModel> Posts { get; set; }
    public DbSet<PostVM> PostVMs { get; set; }
    public DbSet<ImageModel> Images { get; set; }
    public DbSet<ImageVM> ImageVMs { get; set; }
}

Controller
 public ViewResult Display()
 {
        return View(repository.Posts)
  }

View
@model IEnumerable<Crud.Models.PostModel>
@{
    ViewBag.Title = "Index";
}

    @foreach (var item in Model)
    {

        @Html.DisplayFor(modelItem => item.Heading)

        @Html.DisplayFor(modelItem => item.Body)

        @Html.DisplayFor(modelItem => item.Images)
        @**@

}

Here is alternative controller I tried but am not using as I got this error when i tried let  Images = i.Path and wasn't really sure if this was meant to be how it was done

Cannot implicity convert typeCrud 'string' to 'System.Collections.Generic.List  Crud.Models.ImageVm '

  public ViewResult Display()
        {

            IEnumerable<PostVM> model = null;
            model = (from p in db.Posts
                     join i in db.Images on p.ID equals i.Post
                     select new PostVM
                     {
                         ID = p.ID,
                         Heading = p.Heading,
                         Body = p.Body,
                         Images = i.Path
                     });
            return View(model);
        }

A: item.Images is a collection. So loop through that and display the images.

    @foreach(var image in item.Images)
    {

    }

You need to make changes to the src property depending on what value you store in the Path property of image.
You can correct your other action method like this
public ViewResult Display()
{
    var posts = db.Posts.Select(d => new PostVM()
    {
        ID = d.ID ,
        Heading  = d.Heading,
        Body = d.Body,
        Images = d.Images.Select(i => new ImageVM() { Path = i.Path,
                                                      DisplayName = i.DisplayName }
                                ).ToList()
    }).ToList();
    return View(posts);
}

Now since you are returning a list of PostVM, make sure your Display view is strongly typed to that.
@model List<PostVM>

Posts

@foreach(var p in Model)
{

@p.Heading

@p.Body

  @foreach(var image in item.Images)
  {

  }
}

Also, there is no point in keeping the view model classes on your db context. Keep only your entity models. View models are only for the use of UI layer.
public class EFDbContext : DbContext
{
    public DbSet<PostModel> Posts { get; set; }
    public DbSet<ImageModel> Images { get; set; }
}


text:
John Ashbery: Collected Poems 1956-1987
Review by John Herbert Cunningham
Tags: poetry
Ashbery: Collected Poems 1956-1987, John Ashbery. The Library of America. 1042pp, $40.00.
Notes from the Air: Selected Later Poems, John Ashbery. Ecco. 364pp, $16.95.
The period following WWII was a turbulent time politically, culturally, poetically. Brave people hid in shadow from the new-found threats to civilization as they knew it—the bomb, the pill, the Red scare—and each, in its own way, seemed poised to ruin. Artists banded together for protection and support and for their pursuit of the new: the Black Mountain School, the New York School, Deep Image, The Beat Movement, the San Francisco Revival. Here, two of them will be under discussion, as we examine the poetry of John Ashbery and Jack Spicer.
Poets.org provides the following definition:
The New York School of poetry began around 1960 in New York City and included poets such as John Ashbery, Barbara Guest, Kenneth Koch, and Frank O'Hara. Heavily influenced by surrealism and modernism, the poetry of the New York School was serious but also ironic and incorporated an urban sensibility into much of the work.
Abstract expressionist art was also a major influence, and the New York School poets had strong artistic and personal relationships with artists such as Jackson Pollock and Willem DeKooning. Both O'Hara and James Schuyler worked at the Museum of Modern Art, and Guest, Ashbery, and Schuyler were critics for Art News. O'Hara also took inspiration from artists, entitling two poems "Joseph Cornell" and "On Seeing Larry Rivers." O'Hara's poem "Why I am Not a Painter" includes the lines "I am not a painter, I am a poet. / Why? I think I would rather be / a painter, but I am not."
The Literary Encyclopedia describes their poetry: "Most of the group also to some degree or another shared an easy-going, democratic rhetoric as well as a concern for the personal in their poetry. They were all fond of indirection, the indeterminate and the flamboyant, at the same time cultivating a concern for the daily and casual in life."
The New York School is represented here by one of its most famous practitioners: John Ashbery. From Poets.org:
John Ashbery was born in Rochester, New York, on July 28, 1927. He is the author of more than twenty books of poetry. Ashbery has won nearly every major American award for poetry. His collection A Wave (1984) won the Lenore Marshall Poetry Prize; Self-Portrait in a Convex Mirror (1975) received the Pulitzer Prize for Poetry, the National Book Critics Circle Award, and the National Book Award; and Some Trees (1956) was selected by W. H. Auden for the Yale Younger Poets Series. He was also the first English-language poet to win the Grand Prix de Biennales Internationales de Poésie (Brussels), and has also received the Bollingen Prize, the English Speaking Union Prize, the Feltrinelli Prize, the Ruth Lilly Poetry Prize, the Lenore Marshall Poetry Prize, two Ingram Merrill Foundation grants, the MLA Common Wealth Award in Literature, the Harriet Monroe Memorial Prize, the Frank O'Hara Prize, the Shelley Memorial Award, and fellowships from The Academy of American Poets, the Fulbright Foundation, the Guggenheim Foundation, and the MacArthur Foundation.
Paul Hoover, editor of Postmodern American Poetry, says of Ashbery's poetics that it "draws from a poetics of 'indeterminacy,' which favors the process of writing over the drawing of conclusions; while his work is lyrical and meditative, it resists closure and narrative. Not surprisingly, his chosen form is the long poem."
The Library of America puts out no-frills publications, often of the collected works of prominent poets. In its edition of Ashbery's collected poems, there is no introduction, no forward, nothing except the poetry. Although book titles are indicated, the poems themselves are thrown together. Ashbery's Collected Poems 1956-1987 begins with Some Trees.
The poem "The Instruction Manual" begins "As I sit looking out of a window of the building," which immediately raises questions. Why "the building" and not "a building"? After all, Ashbery didn't specifically identify "the window." And as he never completely identifies "the building" either, we must read this as being all buildings in all cities, "this building" being metonymic. But it's more than that. "The building" has become personified into some dark imminence. Something from which the occupant, the 'I', is seeking to escape—in this case through daydream "Of dim Guadalajara! City of rose-colored flowers! / City I wanted most to see, and most did not see, in Mexico!"
From that point, Ashbery weaves a most detailed, realistic picture of this dream realm he has entered as he follows one of the boys "a little older, has a toothpick in his teeth." And, in the end, "And as a last breeze freshens the top of the weathered old tower, I turn my gaze / Back to the instruction manual which has made me dream of Guadalajara." This is not the poetic drama of Eliot but that of Yeats dressed in the garments of Surrealism, but a softer Surrealism than that of Breton.
The Tennis Court Oath, Ashbery's third book, published in 1962, brings Dada to the door of modern American writing. The title poem decomposes into fragments that could be fragments of conversation mixed with description, but then there are points in the poem where even this would be an inadequate description:
What had you been thinking about
the face studiously bloodied
heaven blotted region
I go on loving you like water but
there is a terrible breath in the way all of this
You were not elected president, yet won the race
All the way through fog and drizzle
When you read it was sincere the coasts
stammered with unintentional villages the
horse strains fatigued I guess . . . the calls . . .
I worry
There have been statements made that this is Ashbery's least favourite book and one that he wishes he had never written. But that would be selling this book short, not recognizing the greatness that inheres in these writings—a myopia Ashbery does not possess. There are moments in this book that presage language poetry, in particular the disjointed sentences of Ron Silliman. Look at "They Dream Only of America," whose penultimate stanza is a model, "I would not have broken my leg if had not fallen / Against the living room table. What is it to be back / Beside the bed? There is nothing to do / For our liberation, except wait in the horror of it." Here we also have the friction between the line and the sentence, which Lyn Hejinian is so fond of. I'm not sure if Ashbery got his songs wrong in "Two Sonnets." In the first, "Dido," the concluding line reads "Inside it they had a record of 'The St. Louis Blues,'" but the fifth line in the second, "The Idiot," is clearly a line from St. James Infirmary Blues: "I've wandered the wide world over." The final poem in The Tennis Court Oath contains a couple of examples of what would become Ashbery's signature, the list of three unrelated items. For example:
. . . The apothecary jars,
Chippendale furniture,
and wall-to-wall
She was aware of
vast excitement,
apprehension,
a mental
"Can I give you a hand?"
The impetus behind this is the French tradition of correspondences, which began with Baudelaire and the Symbolists but was subsequently carried over into Dada, via Picabia, and Surrealism, via Breton.
In 1975, Ashbery published Self-Portrait in a Convex Mirror for which he won the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award—the three major American poetry prizes. Hoover, a lover of the long poem, notes "one of his primary devices, periphrasis (roundabout speech or circumlocution) is consistent with the unusual length of some of his work . . . he intends to push poetry past the 'dismal two-note theme / Of some sodden "dump" or "lament" into a fuller kind of reference . . . the unbegun journey to the unattainable place,' a phrase appropriate to Ashbery's work in general." As to the title poem, "based on Parmigianino's painting of the same title, it displays the self-reflectiveness of his poetry. But Ashbery avoids narcissism by multiplying and confusing the perspective; it is the movement of consciousness rather than the narrow concerns of self that is finally depicted." "Scheherazade" reflects this perambulation of mind as it wanders through the poem concluding with:
It is we who make this
Jungle and call it space, naming each root,
Each serpent, for the sound of the name
As it clinks dully against our pleasure,
Indifference that is pleasure. And what would they be
Without an audience to restrict the innumerable
Passes and swipes, restored to good humor as it issues
Into the impervious evening air. So in some way
Although the arithmetic is incorrect
The balance is restored because it
Balances, knowing it prevails,
And the man who made the same mistake twice is exonerated.
Here is the complexity of Buddhist thought boiled down a simple idea: things are because they are—enough said. And although each of us "makes our own bed," we are permitted to lie in it even if we repeatedly make it wrong. Such is not insanity but life. And as to life and self-reflectivity, can one find better than "Lithuanian Dance Band," where the quotidian is accepted as the norm, where loneliness is a natural adjunct of the writer's life:
For we are alone too and that's sad isn't it
Yet you are meant to be alone at least part of the time
You must be in order to work and yet it always seems so unnatural
As though seeing people were intrinsic to life which it just might be
And then somehow the loneliness is more real and more human
You know not just the scarecrow but the whole landscape
And the crows peacefully pecking where the harrow has passed
The title poem reflects Ashbery's occupation as an art critic. Essentially, that is what is represented here: a criticism of Parmigianino's painting Self-Portrait in a Convex Mirror extended into the entirety of Renaissance painting and including direct quotations from critics, in particular, Sydney Freedberg: "Sydney Freedberg in his / Parmigianino says of it: Realism in this portrait." But this is extended into the ruminations that Ashbery makes as he ponders the painting, lifting it from mere criticism into art. Ashbery always returns to the painting for reinforcement, a highly unusual but extremely effective means of controlling the pace of the poem and grounding what would otherwise be mere philosophical speculations, mere discursivity.
The point of overlap between Collected Poems 1956-1987 and Notes from the Air is reached in 1987′s April Galleons, which raises the issue of a Collected versus a Selected collection of poems. In a Collected, the editor is obliged to include everything that the poet ever published, which generally leaves a vast body of unpublished poems sitting around. The question arises: Does the Selected better represent the poet's wishes in that it chooses to put into print only that which had been deemed sufficient by the poet? Do we do the poet an injustice by publishing material the poet had determined was not up to her meticulous standards? Or does the unpublished serve to establish those standards by showing to the poetry-reading public (supposing that there still is such a thing) that which didn't make the grade? Bearing those considerations in mind, we turn now to Notes from the Air: Selected Later Poems.
Notes from the Air opens, without introduction (something a Selected Poems should never do), with April Galleons. The first poem selected, "Vetiver," shows a new side of Ashbery: the ecologist:
And in some room someone examines his youth,
Finds it dry and hollow, porous to the touch,
O keep me with you, unless the outdoors
Embraces both of us, unites us, unless
The birdcatchers put away their twigs,
The fishermen haul in their sleek empty nets
And others become part of the immense crowd
Around this bonfire, a situation
That has come to mean us to us, and the crying
In the leaves is saved, the last silver drops.
Hotel Lautréamont was published in 1992. It contains the title poem, "Notes from the Air," with its opening, Surrealist stanza "A yak is a prehistoric cabbage: of that, at least, we may be sure. / But tell us, sages of the solarium, why is that light / still hidden back there, among house plants and rubber sponges? / For surely the blessed moment arrived at midday." But this is not the Surrealism of Ashbery's younger days. Are we beginning to see maturity enter into the poetry of this rebel, the toning down of rhetoric? Or, perhaps, he's only just now catching up with himself. Which doesn't mean to say that he's not still good, not still one of the best as the pantoum in the title poem of this book, "Hotel Lautréamont" demonstrates:
Research has shown that ballads were produced by all of society
working as a team. They didn't just happen. There was no guesswork.
The people, then, knew what they wanted and how to get it.
We see the results in works as diverse as "Windsor Forest" and "The Wife of
Usher's Well."
Working as a team, they didn't just happen. There was no guesswork.
The horns of elfland swing past, and in a few seconds
Usher's Well,"
or, on a more modern note, in the finale of the Sibelius violin concerto.
Ashbery was not content to merely repeat lines in appropriate spots. Compare the fourth line of stanza 1 with the third of stanza 2 where the sentence has been demoted to a dependent clause.
"About To Move," from And the Stars Were Shining (1994), is a lesson in how to write Surrealist poetry:
And the bellybuttons all danced around
and the ironing board ambled back to the starting gate
and meaningless violence flew helplessly overhead
which was too much for the stair
Better to get in bed lest they cry
since Zeus the evil one has fixed his beady eye on us
and will never come to help us
One cannot help but hear Kenneth Patchen in that fourth line. Unfortunately, in the second stanza the same word is used to end the lines—"Do not go back it said for if there is one less of you / at the time of counting it will go bad with you"—an annoying tic that has begun to creep more and more into Ashbery's poetry. "And the Stars Were Shining," a long, multi-part poem containing all of the Surrealism and rambling discursiveness concludes this section. Taking just a small piece from part VIII as an example: "Then the magician entered his chamber. / Too bad there are no more willows / but we'll satisfy his bent commands anyway, / have a party in the dark, / throw love away, go neck in the park, / fill out each form in sextuplicate." The rhyme between "dark" and "park" is perfect and perfectly placed—an ejaculation. And then, once Ashbury has rambled on for 20 full pages, he reaches the end by asking "my shoelaces were untied, and—am I forgetting anything?"(154). Absolutely a brilliant ending to a brilliant poem.
". . . By An Earthquake", in the 1995 collection, Can You Hear, Bird, is one of the strangest "poems" you're ever likely to read:
Beatrice loved Alvin before he married.
B, second wife of A, discovers that B-3, A's first wife, was unfaithful.
B, wife of A, dons the mask and costume of B-3, A's paramour, and meets A as
B-3; his memory returns and he forgets B-3, and goes back to B.
A discovers "Hortensius," a lost dialogue of Cicero, and returns it to the crevice
where it lay.
But, then, this entire book is Dadaist. How else do you describe a poem about the great authors and what they wrote when they were asleep? Apparently, quite a bit—if you believe Ashbery. And take note of "The Problem of Anxiety" where
I've saved the descriptions of chicken sandwiches,
and the glass eye that stares at me in amazement
from the bronze mantel, and will never be appeased.
1998′s Wakefulness awakens the poet to a stream of consciousness in "Last Night I Dreamed I Was In Bucharest":
seeking to convince the supreme Jester
that I am indeed the man in those commercials.
Simultaneously it peaked in Bolivia, the moon,
I mean. Then we were walking over what seemed to be
heather, or was called that. The downtown riot
of free speech occurred. Plastered to its muzzle,
Randy the dog's decoding apparatus went astray.
Jumping ahead to Ashbery's most recent book, Where Shall I Wander (2005), we read in "Coma Bernices":
The snowball is a model for the soul because billions of souls are embedded in it, though none can dominate or even characterize it. In this the snowball is like the humblest soul that ever walked the earth. The rapacious, the raw, are its satellites. It wants you to believe its core is the outermost shell of the universe, which may or may not be true. Each of us has the choice of believing it, but we cannot believe in both things without becoming separated from our core of enigma, which soldiers on in good time and bad, protecting us alike from the consequences of inaction and misguided enthusiasm. The snowball would melt before it would release us from our woes.
Ashbery had begun to explore prose poetry early on in his career and has stuck with it ever since developing this into newer and larger dimensions of poetry. He still remains the radical after all those years of being considered the best poet in America, after those numerous awards won, accolades received, so much so that he would dare to write a thirteen-line poem and title it "Sonnet: More of Same." Perhaps it is.
Now, let's move to the West Coast and what's been happening . . .
The Foundation Pit by Andrey Platonov
The Foundation Pit, Andrey Platonov (trans. Robert & Elizabeth Chandler and Olga Meerson). ...
Bye-and-Bye: Selected Late Poems by Charles Wright
Charles Wright walks the line between the dictates of the Romantics and the modernists througho...
Middle C by William H. Gass
What distinguishes Middle C from his other fiction, then, is not the that Gass' protagoni...
new poems by Tadeusz Rozewicz In 1944, 23-year-old Tadeusz Rozewicz's older brother was murdered by the Gestapo. It was one body among many that the Polish resistance fighter saw carted through the streets; nearly sixty years later, the aging poet faces his own coming death, but he is not taking it any more quietly than...
How to Read a Novel by John Sutherland I. Despite the popular tolling of the novel's death knell, former Booker prize chair John Sutherland has decided to put together a populist user's guide to reading a novel in the 21st century. What he has created in How to Read a Novel is a clever book, assuredly for someone...
Thing of Beauty by Jackson Mac Low Thing of Beauty: New and Selected Works, Jackson Mac Low. University of California Press. 507pp, $34.95. Besides being released the same year by the same press, Thing of Beauty by Jackson Mac Low and Leslie Scalapino's It's go in horizontal share a number of other commonalities. The primary is that...
John Henry Days by Colson Whitehead I. Right about now, irony and sarcasm are pretty hot stocks. They were the magic at the center of the 1990′s most popular, and most clever, sit-com, they're used in commercials every day to sell products, and, really, they're a big part of everyday humor. If you're like most people,...
Read more articles by John Herbert Cunningham
Driven to Abstraction by Rosmarie Waldrop
Forest of Eyes: Selected Poems of Tada Chimako
The Cambridge Companion to Allegory Edited by Rita Copeland and Peter T. Struck
Poetry's Ulysses: All the Whiskey in Heaven: Selected Poems by Charles Bernstein
Versed by Rae Armantrout and The Winter Sun by Fanny Howe
C. P. Cavafy: Collected Poems
Beyond Neruda: Linking Three of Latin America's Best Poets
The Collected Poems of Barbara Guest by Hadley Haden Guest (editor)
Kenneth Koch: Selected Poems by Ron Padgett (editor)
my vocabulary did this to me: The Collected Poetry of Jack Spicer
The Alphabet by Ron Silliman
Girly Man by Charles Bernstein
Saga/Circus by Lyn Hejinian
Souls of the Labadie Tract by Susan Howe
It's go in horizontal by Leslie Scalapino
Thing of Beauty by Jackson Mac Low
Read more articles about books from The Library of America
Stella by Siegfried Lenz
Lenz, a partirarch of Gruppe 47, emerged with Hans Werner Richter, Ilse Aichinger, Günter ...
Short Disclaimers, Extravagant Tablecloths: Harry ...
If Harry Mathews is esteemed predominantly for his masterful fiction, it is nonetheless as a po...
Bullfight by Yasushi Inoue
The premise of Yasushi Inoue's debut novella Bullfight, celebrated in Japan as a classic of pos...


text:
Jurassic Park - The Lost World
DVD | Action | 14 May 2015
Currently out of stock - More Coming 2-5 Business Days
3 for $30 Movies & More Jurassic World Creature Features
Director Steven Spielberg takes us back to the scene of Jurassic Park in The Lost World, the blockbuster sequel with even more dinosaurs, more action and more breathtaking visual effects than its record-breaking predecessor. This Collector's Edition contains exclusive interviews and rare behind-the-scenes footage. The Lost World remains among the most successful films of all time and features an all-star cast including Jeff Goldblum, Julianne Moore and Pete Postlethwaite. It has been four years since the disaster at Jurassic Park and two groups are in a race against time that will determine the fate of the remote island's prehistoric inhabitants. Take home this classic film that will leave you on the edge of your seat...again!
Title: Jurassic Park - The Lost World
Actor(s): Jeff Goldblum, Julianne Moore, Richard Attenborough, Pete Postlethwaite, Arliss Howard, Vince Vaughn, Vanessa Lee Chester
OFLC Rating: PG
Transfer Format: 16:9 Enhanced, Widescreen
OFLC Advice: Medium Level Violence
Director(s): Steven Spielberg
Genre: Action/Adventure,


text:
SEC's White Names Former Federal Prosecutor Rice as Chief Counsel
Regulation and Compliance > Federal Regulation > SEC
by Melanie Waddell
Securities and Exchange Commission Chairwoman Mary Jo White announced Monday that she has named Robert Rice, a former federal prosecutor, as her chief counsel.
Rice comes to the SEC from Deutsche Bank in New York, where since 2010 he served as head of governance, litigation and regulation for the Americas, and the global co-head of its governance, litigation, and regulation operating committee.
"I have been impressed by Bob's intelligence, wisdom and insight for as long as I've known him," said White, in a statement. "I am delighted that he will be joining our talented SEC team."
As chief counsel, Rice will serve as a senior legal and policy advisor to White and provide counsel on a wide variety of regulatory matters.
"I am humbled by this appointment, and thrilled to return to public service and work again under Mary Jo White," Rice said in the same statement. "I look forward to the challenges ahead and to working with everyone at the commission to protect investors and maintain the integrity of our markets."
Rice, 57, began his legal career in 1987 as an associate at the law firm of Simpson, Thacher & Bartlett, in New York, and spent nearly a decade in the criminal division of the U.S. Attorney's Office in the Southern District of New York. As an Assistant U.S. attorney in Manhattan from 1991 until 2000, he investigated and prosecuted numerous securities fraud, mail and wire fraud, and money laundering cases.
He also served as a deputy chief appellate attorney before being named deputy chief of the criminal division, with responsibility for overseeing approximately 160 federal prosecutors.
In 2000, Rice left public service to become a partner at McDermott, Will & Emery in New York. He remained there until 2004, when he joined Deutsche Bank as head of regulatory and internal investigations for the Americas.
Rice received a B.S. from Springfield College in 1977, a master's degree from Montclair State College in 1980, and a J.D. from St. John's University School of Law in 1987.
Read SEC Enforcement: Oil Firm Busted for Bribing Iran Official; Goldman VP Settles Pay-to-Play Charge on AdvisorOne.


From a conventional machine to a sophisticated CNC Machining Center, Central System or Hydroforming Press, the last thing you need is an under-achieving metalworking fluid. Lubricor Inc. is a leading manufacturer of metalworking coolants, cutting and grinding oils, stamping & drawing lubricants, hydroforming compounds, corrosion preventives and cleaners, all of which are engineered for high performance and high value. Let WestChem help you increase your through-put with our line of ultra-stable high performance fluids.
Our technical staff have many years of experience in the metalworking fluids industry, and research and development in fluid formulations and design. Our product development staff is constantly working to develop high technology-advantaged products that improve productivity, quality and parts finish, as well as the environmental impact of our products for our customers. Our sales representatives understand our customers' processes, and serve as application specialists to answer questions and help our customers solve problems. Our metalworking fluid philosophy is based on two approaches; firstly – the more traditional and stable technology which still performs very well, and secondly, the high performance line which leads to lowest overall operating cost for the customer, which is based on our latest development and technologies.
It is our objective to reduce our customers' operating costs. Our performance products are more effective and can be used at significantly lower concentrations.


Clean, notes of citrus, ripe plums, milk chocolate. Ideal single origin.
Grown in the Paddys Green area on the Atherton Tablelands, Dimbulah Mountain Estate Plantation Fancy is a great ambassador of Australian coffee.


Although he is in South Africa, the Chinese president will show up at the BRICS summit in Johannesburg. Top associates of the Chinese neighborhood say they are searching forward to President Xi's pay a visit to — and its fruitful results.
#Egypt #vacation OUR CAIRO Home #6 – Ultimate Home Tour!


MAISON – OBJET, design interieur maison.
Fuel your creativity with weekly selections featuring renown personalities!
Immerse yourself in the show. Next experience: see you in September 7-11, for five more passion-filled days.
MAISON&OBJET is making a few changes .


text:
Officers looking for man who 'touched himself and stared at 14-year-old girl' on a train
Can you help officers identify this man?
Sophie Finnegan
Officers from the British Transport Police are looking to trace a man who touched himself while staring at a 14-year-old girl on a train.
The incident happened on board a train travelling between Grays and Tilbury. The incident happened between 6.48am and 7am on 12 March.
Trio plead guilty to robbery in Southend after officers saw it live on their phones
A 14-year-old girl was sat on the train when a man sat across from her in the aisle and started to touch himself inappropriately, staring at the girl whilst touching himself.
The man then left the train at Tilbury.
Investigation launched after 18-year-old man stabbed to death in Forest Gate
Officers would like to speak with the man in the CCTV image in connection to the sexual exposure as they believe he has information that could help the investigation.
Anyone can pass on information to BTP by sending a text to 61016 or by calling 0800 40 50 40 quoting reference 446 of 12/03/2018. Alternatively, contact Crimestoppers anonymously on 0800 555 111.


Do you detest people who voted differently from yourself?
Do you avoid entering into discussions about politics when you are among people who are on the opposite side? Or alternatively, do you make deriding comments about the other side when you are with your friends, without bothering to ask yourself whether you really know how they voted in the last election?
Morris P. Fiorina has written a book entitled Moderate Voters, Polarized Parties, reviewed in the Wall Street Journal on January 6, 2018. The book describes how polarized American political parties have become, and yet how increasingly moderate and independent voters seem to be.
The parties pretend mightily and convincingly that they are pulling back and forth on a public policy tug-of-war, each trying to impress supposed "independents" and "moderates" to tip the scales in the party's favor. But in fact, the majority of Americans seem to want the same thing: a larger and more intrusive government that benefits the voter at the expense of everyone else.
Rather than agreeing like adults to limit our state, federal, and local governments as the U.S. Constitution advocates–which limited government is meant to preserve our liberties, encourage progress, and increase our standard of living–more and more interest groups are feeding at the public troughs so conveniently provided by larger governments.
Please remember that interest groups are simply groups of people, whether they represent large corporations or themselves.
"A Library of Congress web page listing government branch websites says it succinctly: 'With the time we have available, it is not possible to list every department agency.'"
In all cases, people on the left and people on the right have a vested interest in the decisions our governments make on each and every issue. The more subjects within government purview, the more the groups stand to gain.
So instead of everyone voting to allow each other the freedom to resolve privately the issues that concern each of us to different degrees, people on both sides of the spectrum vote for a government that confiscates our freedom, takes over jurisdiction, and redistributes the power and/or riches to one side or the other. And the side changes every few years, just to keep the party rolling for those bureaucrats who are the most wily participants in this charade, since they win no matter which side is gaining.
The winning side feels vindicated for a while; but over the long term everyone loses. The whole nation becomes increasingly lackluster, unproductive, downtrodden, depressed, repressed, uncreative, and frustrated, no longer master of his or her own destiny. We all become less free and less valuable to our fellow citizens as this unhealthy cancerous growth evolves.


Trim off any excess fat, and cut through any remaining fat or gristle on the edge to prevent curling.
Brush the meat with the merest touch of oil to prevent it sticking to the pan. This may not be necessary if your pan is well seasoned or non-stick. Add a little ground black pepper if desired, some say to season the meat first with salt, whereas others say not to season until after the meat is cooked as it will draw the juices from the meat.
Heat a heavy-based grill pan or barbecue to very hot. Do not add oil or fat to the pan. Place the steak onto the hot surface and turn it about half way through the cooking time to seal the other side and complete the cooking.
Check for readiness by pressing meat with tongs or your fingertips. Rare beef feels spongy, medium is slightly firmer and well done feels firm.
Let the steak rest for 2-4 minutes before serving.
Lean grilling beef is low in fat and rich in protein, iron and zinc, as well as being an excellent source of the B vitamins, B6 and B12, riboflavin and niacin. These are essential for growth and energy, and the reason why puréed beef is recommended for babies over 6 months, whose high iron needs in particular can be difficult to meet.
Most beef grilling cuts have a little fat running through the meat, which is necessary for tenderness and flavour. Look for the leanest grilling cuts and ask us to trim off any remaining fat, or do this yourself at home.
Refrigerate steak as soon as possible after you buy it.
Cooking time depends on the cut and thickness of the meat, the cooking method you use and how you like your steak: rare, medium or well done. Because of this, all cooking times are approximate.
It is essential to 'rest' (allow to stand) steak immediately it is cooked and before eating. Put the cooked meat on a serving plate, cover loosely with a light cloth, foil or baking paper and let it sit on the bench or in a warm oven for about 2- 4 minutes, depending on the thickness of the meat. This allows the fibres to settle and the meat will be even more tender.