text:
Telecom Trading Limited
Apple iPhone 6s Plus 128GB Space Gray
Quantity CALL
Network Model A1633 & Model A1634 :
LTE (Bands 1, 2, 3, 4, 5, 7, 8, 12, 13, 17, 18, 19, 20, 25, 26, 27, 28, 29, 30)
TD-LTE (Bands 38, 39, 40, 41)
TD-SCDMA 1900 (F), 2000 (A)
UMTS/HSPA+/DC-HSDPA (850, 900, 1700/2100, 1900, 2100 MHz)
CDMA EV-DO Rev. A (800, 1700/2100, 1900, 2100 MHz)
GSM/EDGE (850, 900, 1800, 1900 MHz)
Model A1688 & Model A1687
LTE (Bands 1, 2, 3, 4, 5, 7, 8, 12, 13, 17, 18, 19, 20, 25, 26, 27, 28, 29)
A1700 型号 & A1699 型号
FDD-LTE(频段 1, 2, 3, 4, 5, 7, 8, 12, 13, 17, 18, 19, 20, 25, 26, 27, 28, 29)
TD-LTE(频段 38, 39, 40, 41)
TD-SCDMA 1900(F), 2000(A)
CDMA EV-DO Rev. A(800, 1700/2100, 1900, 2100 MHz)
UMTS(WCDMA)/HSPA+/DC-HSDPA(850, 900, 1700/2100, 1900, 2100 MHz)
GSM/EDGE(850, 900, 1800, 1900 MHz)
Colours Gold, Rose Gold, Silver, Space Gray
Sim Card Type Nano-SIM
Talk Time Up to 24 hours on 3G
Standby Time Up to 16 days
Display Retina HD display with 3D Touch
5.5-inch (diagonal) LED-backlit widescreen
1920-by-1080-pixel resolution at 401 ppi
1300:1 contrast ratio (typical)
500 cd/m2 max brightness (typical)
Full sRGB standard
Dual-domain pixels for wide viewing angles
Fingerprint-resistant oleophobic coating on front
Support for display of multiple languages and characters simultaneously
Display Zoom
Reachability
OS Platform iOS 9, upgradable to iOS 11.3
CPU A9 chip with 64-bit architecture
Embedded M9 motion coprocessor
CPU	: Dual-core 1.84 GHz Twister
GPU	: PowerVR GT7600 (six-core graphics)
Memory (2GB RAM + 16GB ROM) or (2GB RAM + 32GB ROM) or (2GB RAM + 64GB ROM) or (2GB RAM + 128GB ROM)
Memory Card No
Sensors Touch ID fingerprint sensor
Camera Camera :
12-megapixel camera
Live Photos with stabilization
Autofocus with Focus Pixels
Optical image stabilization (iPhone 6s Plus only)
True Tone flash
Panorama (up to 63 megapixels)
Auto HDR for photos
5x digital zoom
Backside illumination sensor
Sapphire crystal lens cover
Auto image stabilization
Local tone mapping
Video Recording :
4K video recording at 30 fps
720p HD video recording at 30 fps
Optical image stabilization for video (iPhone 6s Plus only)
Slo-mo video support for 1080p at 120 fps and 720p at 240 fps
Cinematic video stabilization (1080p and 720p)
Continuous autofocus video
Take 8-megapixel still photos while recording 4K video
Playback zoom
FaceTime HD Camera :
5-megapixel photos
Auto HDR for photos and videos
Connectivity 802.11ac Wi‑Fi with MIMO
Multimedia Audio Playback :
Audio formats supported: AAC (8 to 320 Kbps), Protected AAC (from iTunes Store), HE-AAC, MP3 (8 to 320 Kbps), MP3 VBR, Dolby Digital (AC-3), Dolby Digital Plus (E-AC-3), Audible (formats 2, 3, 4, Audible Enhanced Audio, AAX, and AAX+), Apple Lossless, AIFF, and WAV
TV and Video :
Video formats supported: H.264 video up to 4K, 30 frames per second, High Profile level 4.2 with AAC‑LC audio up to 160 Kbps, 48kHz, stereo audio or Dolby Audio up to 1008 Kbps, 48kHz, stereo or multichannel audio, in .m4v, .mp4, and .mov file formats; MPEG‑4 video up to 2.5 Mbps, 640 by 480 pixels, 30 frames per second, Simple Profile with AAC‑LC audio up to 160 Kbps per channel, 48kHz, stereo audio or Dolby Audio up to 1008 Kbps, 48kHz, stereo or multichannel audio, in .m4v, .mp4, and .mov file formats; Motion JPEG (M‑JPEG) up to 35 Mbps, 1280 by 720 pixels, 30 frames per second, audio in ulaw, PCM stereo audio in .avi file format
Messaging iMessage, SMS, MMS, Email, Push Email
Others Built-in rechargeable lithium-ion 2750mAh battery
Charging via USB to computer system or power adapter
Touch ID :
Fingerprint sensor built into the Home button
Assisted GPS, GLONASS, Galileo, and QZSS
Address : Unit 2107, 21/F, Metro Loft, 38 Kwai Hei Street, Kwai Chung, New Territories
Tel : ( + 852 ) 3153 2501
Fax : ( + 852 ) 3153 2500
Website : https://www.telecom-trading.hk
Email : sales@telecom-trading.hk
MSN : richard.ewart@telecom-trading.hk
Mr. Richard Ewart
Job Title : Director
Mobile Phone : ( + 852 ) 9173 1151
Chinese Hotline


Image courstesy of CCP Games.
VR game development isn't as big a mystery as we think.
"Approach it from a gamer's perspective, using really good, rational game design and rational level design methodologies."
ANDREW: I've been in game development for about nine or ten years now, and before I came to CCP Games, I was with Ubisoft. I did a lot of big open-world games like Watch Dogs, The Crew, Driver: San Francisco, and I even worked on The Division before I came over to CCP, but one of the best games I think I ever did was a smaller games called Grow Home, where we took a mechanic and then scaled it up to be a fun playground - just a game that anyone could pick up and play. That gave me this burning itch to get back into smaller games because a lot of the games I worked on were between 250 and 400 developers. I tried a few of the VR games before Valkyrie and it blew me away; I'd already started my own VR club within Ubisoft, because I was so passionate about what VR could bring to game design and I saw it as the most exciting thing to happen, to move to, since Mario turned 3D. EVE: Valkyrie was already at a very unique and spectacular demo stage when I joined CCP and now we have a full VR game. We're very successful – it's been hard work, but very, very worthwhile.
EMILY: I started out making iPhone games and I also did some prototyping work for Sony, which means making a small game in about a month and testing out new ideas. After that, I worked at Eutechnyx on racing games, which later gave me the opportunity to work at CCP. I've now been working in games for about five years.
How big is the CCP team?
ANDREW: Globally, I think we're around the 350 mark, and that's obviously split between the different studios and each studio has its own IP: Reykjavik works on EVE Online, the Atlanta studio is working on a VR project under the working title Project Arena, and Shanghai is working on Gunjack and also handle the mobile VR side of things. CCP Newcastle – where we work – is predominantly EVE: Valkyrie. We're very versatile in the studio and we're very adaptive to change – we can act on things, we can respond to change and feedback, and make changes very quickly. The other side of that, creating content and creating an epic campaign like missions, takes a lot more time as we are a small team, so we have to be very careful where we spend our development time. I think most people that you speak to within the studio absolutely love it here because it feels like a family, everyone knows each other, and everyone knows and has a stake in Valkyrie as an IP. We all want Valkyrie to succeed, and everyone feels emotionally invested in it.
Find out what's new in Maya, 3ds Max and Shotgun.
How did the concept for EVE: Valkyrie come about?
ANDREW: It started off as a small prototype called EVE VR and that came about from Reykjavik. It was a small prototype and there were about five people on it initially. They had the concept of trying out this new technology. They were developing on Oculus DK1 as it was at the time and the idea was that we were going to put an EVE Online pilot in the cockpit, and you'd get the chance to see from this perspective - you'd be put in the pilot's seat and look through their eyes. So this is where it stemmed from and I think it blew a lot of people's socks off. It's the sense of presence when you launch and you actually see space for the first time in VR - it's really quite an overwhelming experience, particularly in the early days of VR. You're transported into this alien world and it's just incredible. CCP had a lot of faith in that and realized that there was scalability there and that this could become a fully-fledged game in its own right. Personally, this is my first VR game… I did a few interesting prototypes prior to this; I messed around with a couple of things at Ubisoft, and I tried making my own games, but this was my first big VR project. It's been a real trial of fire, there's a lot of best practices within VR and along the course with Valkyrie, we made and broke them in equal measure.
EMILY: It's my first VR game as well, so I felt that when I interviewed at CCP, I had to explain why I felt like my background in racing games would be good for VR and for a flight game. In games like this, I think that it mainly comes across in the sense of speed and the design of the environment, so that you get good feedback wherever you are, and that's about how fast you're traveling. It's also about learning that when we show the game to people, we're always telling them "remember to look around" because they tend to sit and look straight ahead, and we also have to remember to do that as developers as well.
ANDREW: It's become a little joke in the office, we'll walk up and down the office and people say, "oh, we've got a feature ready for review," and I'll be like, "what's it doing on a 2D screen?" It's a hard habit to break - we're used to 2D interfaces for all our design work, and slowly but surely we're seeing more and more tools come online within VR that are going to allow us to edit and create content within virtual reality. It's a really cool idea that in a couple of years' time we'll be fully immersed.
In your experience, what are some of the key things that you feel people need to consider when developing for VR, from a gameplay aspect?
ANDREW: Some of the golden rules, which I think shouldn't be broken: VR works best if you are looking through the eyes of an avatar. One of the most compelling things in VR is still seeing through the eyes of an avatar that is roughly in the same spot as the viewer, but in a virtual world that has believable content. I think it really deepens the sense of immersion. You should also never remove camera control, whereas with a lot of 2D games you can act almost like a film director. You can call out someone's attention and force a camera pan to look at something. It should never be that in VR - taking direct control of the camera away is really uncomfortable for the player. There are a lot of games that deal with this by trying to lock up your movements in order to give you a narrative, but still, allow you to look around within it. Tell the story to the player, but don't expect them to look at everything because they're going to look wherever they want.
EMILY: For me, it's mainly about your perspective and understanding the size of the environment around you. In our game, you're so immersed in the cockpit and you only get a greater sense of how large it is once you're in it, along with the ships and the environments around you. You really get a good sense of scale within VR.
One of the things I read was that the feeling of being in the middle of a cockpit in Valkyrie was one of the most amazing feelings in VR. So, when it was decided you were making a VR game, what were some of the key features or like elements that you absolutely had to include?
ANDREW: We talked about generation one VR and I think that's probably why we were very lucky in that because we're in a cockpit – you won't suffer from a lot of motion sickness and nausea from the movements, and I think that having this constant fixed frame of reference – which is this housing around you – really grounds you in the experience. The experience allows us to take a lot of risks and put in some very high-tech action sequences because we've got the terra firma, as I like to call it, around you and you never tend to lose your grounding in that. A lot of the lessons that people learn quite quickly within VR is if you get a movement wrong, you can get it terribly wrong. Player control and player movement is the number one thing within VR that if you're going to do movements, take 99 percent of that time that you budgeted. It takes a long time to get it right. If you just want a game, as soon as you put the headset on, you're in a different world and you need to make sure that the controls are as accessible as possible - the controllers have gotten more and more complex and we've got about 12 different inputs there. You can't really have something ridiculously, overly complex as soon as you get launched in a bubble. A lot of the research that we did and a lot of the iterations on the control configuration really helped – the missiles, for example, really force people to move their head around even while seated. People would launch in space and they'll be sat looking forward, so we try to have many types of events where you have to look around. You're in VR - you don't have to stare forward! Having mechanics which prompt you to do that from a gameplay perspective also deepens that sense of immersion - you feel more connected with the virtual world.
When it comes to like best practices for VR, to what extent do you work with the hardware companies?
EMILY: Performance is the number one most important thing. It breaks the immersion, it can cause motion sickness and nausea. The hardware companies were very helpful in tackling things like that.
ANDREW: If you look at a lot of Sony's documentation, they really approach it from a gamer's perspective, using really good, rational game design and rational level design methodologies. For example, take introducing the idea of someone walking across a bridge – the first time you walk across the bridge it might be daunting, so you might see a bridge with a safety net and it's over some nice shallow body of water to keep the player comfortable. And then the next time you show the bridge, the water becomes lava and then the next time it's got no safety net. That really instills progression into the ingredient that you expose the players to. We've tried to follow as many of those best practices as we developed Valkyrie, and I think all of the hardware people have been really helpful throughout the course of development as they've been developing in parallel to us the whole year.
We've learned a lot, but we've also helped define some of their rules as well – it's a bit of a two-way street. If you make something that's really successful and you hear back from Sony saying, "oh yes, you're the top game when we go on the road," they'll obviously be looking to us to see what we did right, and adding it to their documentation.
If you had to give any advice to someone looking to make a VR game, what would it be? How would you convince them?
EMILY: I think in a way the best advice is to play VR games and see what's there, see what's working and what's not in the system.
ANDREW: I think that's probably a good example of every genre you can think of right now and, and you don't have to look far. Movement is still a huge challenge in VR, and so next year it'll probably be even more experimentation on how we can move in VR. There's been a lot of solutions for that – point and click, move to a place by pointing at it and then teleporting to it. Movement within a vehicle is a little bit easier. I think there are still a lot of challenges ahead, and I think anyone that who wants to start off in VR – get on in there, you've just got to dive in and play games. There are different levels of polish, but there are definitely some incredible examples of VR available. Seeing people's first VR moment is a really precious thing and I don't think I've seen anyone take the headset off and say anything other than "wow," it's usually that starry-eyed kind of "this is incredible, I want more" reaction. That sense of immersion is what sells people on VR.
I have one last question, which is more for my morbid curiosity… I noticed in your communities, you refer to each other as 'CPP [random name].' Do you all have your own code name?
The team at CCP Games used 3ds Max and Maya for modelling and animating.
Get in the pilot seat with EVE: Valkyrie VR, now available on PSVR, VIVE and the Oculus Rift.


GREAT BIG CONTEMPORARY STYLE TOWN HOME IN MOVE IN CONDITION SITUATED IN A GREAT PRIVATE DEVELOPMENT WITH WIDE TREE-LINED STREETS, PLENTY OF PARKING AND POOL. CONVENIENTLY LOCATED CLOSE TO HIGHWAY, PARKS, SCHOOLS, SHOPPING AND TRANSPORTATION. FEATURING A HUGE BEDROOM SUITE WITH WALK IN CLOSET AND FULL BATH, POSSIBLE 2ND BEDROOM LOFT, PRIVATE FRONT YARD, ASSIGNED PARKING AND MORE. LEVEL1: LIVING ROOM, KITCHEN, LAUNDRY, HALF BATH LEVEL2: HUGE BEDROOM WITH WALK IN CLOSET AND FULL BATH, LEVEL3: LOFT WITH CLOSET.


another August, another trip to the Ex!
Tiny Tom Donuts, an iconic part of the CNE for as long as I can remember.
One of this year's shows is 'Mirage', an acrobatic show at the Ricoh Coliseum.
A star on the midway. The coke bottle says Jeff.
yum, candy apples… caramel, smarties, sprinkles and crushed nuts!
spinning quickly on the midway – or at least a bit too quickly for the camera!


At Distri Rail, we take the transportation of your cargoes personally and we offer our customers a vast and modern fleet of containers. From straightforward dry boxes, specialized equipment for "out-of-gauge" cargoes to state-of-the-art controlled atmosphere reefers, Distri Rail has the size and type of box to suit your needs; Through our centralized freight procurement, in addition to the negotiation of competitive prices, we also incorporate the highest standards to the service -and the equipment used when shipping your goods. This ensures all containers are in prime condition, and meet or exceed international quality standards. Manufactured from corrosion resistant steel (corten), stainless steel or aluminum, Distri Rail provides it's customer with containers at the highest quality. Distri Rail can advise you on which is the most suitable container for your cargo, furthermore we can assist you to choose the most effective stuffing method. Shipping via Distri Rail means: "giving your cargo the best treatment to ensure it arrives at destination perfect condition".
The most flexible "allround" railcar for combined transportation with an ideal loading weight of 70 t. Excellent for maritime containers, tank containers and swap bodies.
This long 4-axle "allround" wagon for the combined transport offers an ideal loading capacity of max. 68.5 t. Due to a continuous loading platform and a very low tare weight this wagon offers perfect and flexible possibilities for the transport of maritime containers. All in all there are 30 different loading combinations for all kind of container types, swap bodies and tank vessels.
This flexible car is ideally suited for loading of almost all types of containers as well as 13,6 m swap bodies. The loading weight of 106 t is extremely high for this type of car.


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* Featured * Canada Countries Featured • Zone 3 General Society Society (Canada)
Nunavut suspends travel bubble with N.W.T. following COVID-19 outbreak in Sahtu region of northern Canada
Posted: Tuesday, August 17, 2021 at 15:45
A Canadian North plane, seen at Iqaluit airport July 2019. The common travel area between N.W.T. and Nunavut has been suspended, effective immediately. (Jordan Konek/CBC)
The suspension of the common travel area is effective immediately, says Nunavut's deputy CPHO
Nunavut has suspended its common travel area with the Northwest Territories following a COVID-19 outbreak in the N.W.T.'s Sahtu region.
According to a news release on Tuesday, Dr. Anne Huang, Nunavut's deputy chief public health officer, says the suspension is effective immediately.
"Following the increased risk of COVID-19 in the N.W.T., we will close our side of the Common Travel Area with the territory beginning today," Huang said in the release.
As of Monday evening, the number of confirmed cases in the N.W.T. inflated to 34, with six probable cases. The initial cluster of cases was linked to a symptomatic person who attended a hand games event in Fort Good Hope, N.W.T., in early August.
Containment order
The community was put under a containment order on Sunday and the chief of that community declared a state of emergency on Monday.
It's not the first time the travel bubble has burst — in May, Dr. Michael Patterson, Nunavut's chief public health officer, called for similar restrictions following a COVID-19 outbreak in Yellowknife.
Anyone who is not fully vaccinated with a Health Canada-approved COVID-19 vaccine must isolate at the designated isolation hub in Yellowknife for 14 days before travelling to Nunavut, said Huang.
Some exceptions
There are some exceptions to this isolation requirement. They include travellers with a same-ticket layover through Yellowknife, vaccinated travellers with unvaccinated dependents 12 years old or younger, "critical workers" with an authorized travel letter, or those granted a compassionate exemption.
Those looking to apply for an exemption to out-of-territory isolation or book isolation in Yellowknife should visit the Nunavut government website for details.
The public health orders in Nunavut also state that when one traveller of a household is required to isolate, all unvaccinated members of that household must also isolate, which means staying in your home for 14 days, and having groceries delivered.
If delivery isn't possible, one isolating member of the household can shop for food once per week.
Anyone who thinks they could have been exposed to COVID-19 should call the COVID hotline at 1-888-975-8601 between 9 a.m. and 5:30 p.m. ET, or notify their community health centre right away, and immediately isolate at home for 14 days.
Canada: Canada's Northwest Territories in 'critical moment' as Sahtu COVID-19 cluster now considered community spread, CBC News
Iceland: New COVID-19 border testing regulations coming to Iceland on August 16, Eye on the Arctic
Finland: Berry firms moved harvesters from Lapland to East Finland even if exposed to, infected with COVID-19, Yle News
United States: Cruise ship arrives in Skagway, Alaska after passenger flown home with COVID-19, CBC News
Northwest Territories, Nunavut
← Big oil, gas and coal making headway on Russian Arctic coast
NDP, Conservatives name candidates in Canada's Yukon territory →
For more news from Canada visit CBC News.

redpajama_set_name: RedPajamaCommonCrawl


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You are at:Home»Interactive Owl»Critics Den»Review of Deftones: Diamond Eyes
Review of Deftones: Diamond Eyes
By Darby Shaw on	 February 8, 2011 Critics Den, Music Reviews
Holy crap… I just became my parents.
Every generation believes they have discovered the concept of music; that nobody before them or after them understands music like they do. They find songs full of anger or angst or burning, passionate love unlike anything else ever experienced before. They find lyrical poets who express sentiments more profoundly than any other human in the history of mankind. They go to their room, then they play those lyrical poets with the volume cranked up to 11, to fully embrace the sonic majesty of their new-found love…
And their parents start yelling, "SHUT THAT GODDAMN NOISE POLLUTION OFF!"
So they grumble and groan and turn the speakers down, muttering that their parents "just don't understand" and that they would NEVER do something like that to their kids.
But someday down the road, years in the future, they will turn on a radio station or listen to a CD that kids are in love with and say, "What the hell is this? This isn't music! This is crap!"
Today, for me, the cycle has begun again.
To be fair, I knew fuck-all about the Deftones before I heard their latest album, Diamond Eyes. I thought, based on the name, that they were some sort of jazzy, neo-swing band of some sort. It turns out they are actually a rock band. Well, they're a band of individuals who bang on their instruments and yell really loudly. So if that makes them a "rock band" to kids these days, well, who am I to argue? All I know is, when I put their music onto my new-fangled smartyphone and played their mp-whatzits, all I heard was some really angry-sounding guy shouting in my ear.
I wish I could tell you about their deep lyrics, but I couldn't make out a word they said. I tried doing that Googly thing on the Interwebs to find the words to the song, but I guess my router couldn't IP my DNS to my baud rate or something. And I'd talk about their varied melodies and intricate musical styling, but I couldn't tell any of the songs apart. For all I know, they just played the same three songs over and over again.
Their tracks have titles like "Rocket Skates" and "Beauty School" and "Sextape." All I know is that they're no "Rocket Man" or "Beauty School Dropout" or "Sex Type Thing" from back in the day. THOSE were songs, my friend. You could hear the harmonies, you could tell what they were singing about, and you didn't have people thrashing their heads around, banging on stuff. You went to a show, you paid your $5, and you were surrounded by polite folks who wanted to hear good, decent music too.
I'm sure you kids will love this crap. I'm sure you'll think every song was written just for you, and that the song writer gets you, deep down in your soul like nobody else does. Me, I'll go for something intelligible and meaningful… like Bob Dylan singing about Rainy Day Women… but just #12 and 35.
Song you should pay $1 for iTunes, rather than downloading for free: Wait. You can pay a dollar and get a song? Really? You don't have to buy the vinyl?
Rating: 2 Gramophones.
Darby Shaw
vince on December 5, 2011 4:46 am
time will see us realign
diamonds rain across the sky
shower me into the same
Their bass player was in a coma when they wrote the title track. I think its about metaphysical concepts that are probably out of your depth since you're a moron.
Tim on January 24, 2012 5:50 pm
You are a fucking idiot. Take the time to actually listen to them, I guarantee you your opinion will change
Francesca on April 20, 2012 7:06 am
Well the fact that you've "heard fuck all about them, until you heard their latest album" says it all really.
Try not having the attention span of a fish and do some research before you throw around rash insults at an attempt to be hilarious. You sounded like grandad telling dad to turn off the Sex Pistols, you damn punks! I suggest you go back to being young and open. Try tackling the shit in the charts next time.
They've also been around since the late 80's.
Disgraceful.
Jonathan o on June 23, 2012 4:48 pm
You ,sir, are in idiot.
Derrick on July 28, 2013 8:37 pm
They're actually a very down to earth bunch of guys with a very complex sound that's not just laid out on the table. You actually have to try to figure out what he's really singing about. It makes things more interesting and alive.
Aaron Guzman on August 26, 2014 2:19 pm
Clearly you know nothing about Deftones and I find your review absolutely pointless. You think they just bang on their instruments like monkeys? You have no clue how talented these guys are as musicians.
They most certainly do not play the same sounding song over and over. Each song is clearly different and has unique elements from each band member. And yes the lyrics are deep, poetic, and emotive.
I doubt you listened on good speakers. Playing low quality "mp-whatzits" on a "smartyphone" is no good way to listen to music at all.
This review is crap. You have no clue how creative the Diamond Eyes album really is. You're obviously not a Deftones fan so why did you even write this review? Just to complain and bitch about music that doesn't even matter to you? Take a rocket back to 1972 and be quiet. No one cares about what you don't like.
http://en.wikipedia.org/wiki/Diamond_Eyes


Want to know more about our work? Then do please have a browse through our folio. You'll discover what our clients needed to achieve, how we helped them and what happened as a result of our work together. It's chock full of some of our highlights from the last twelve years: from the night we turned a brewery into a haunted galleon, to the fairground we built in a city centre, to the punk pig that nearly caused a traffic collision.


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Home > Products & Services > Lucifer Lighting Introduces STELLR™
Systems + Applications | Luminaires | Applications | Dim-to-Warm | Tunable White Light | HCL | Mar 25, 2020
Lucifer Lighting Introduces STELLR™
Lucifer Lighting, known for designing and engineering high-quality, unobtrusive architectural lighting fixtures, introduces a new and innovative fixture that bridges architectural and decorative lighting, STELLR™. STELLR is a bold and significant entry in the decorative/ architectural market, offering advanced, patent-pending engineered technology and sophisticated design that gives architects, interior designers, and lighting designers infinite lighting options with a single fixture.
Two independently controlled, warm-dimmable light sources in a single fixture offer infinite lighting possibilities
• An elegant, organic shape that complements a wide range of design
styles and settings and is available as a surface mount or pendant
• A directional downlight concealed within the body of the fixture.
• A unique polymer with circulating LED sources creates a glowing near
opaque wave guide when turned on, and transparent surface when
turned off.
• Independently adjustable on-off allows use of just the downlight,
just the wave-guide, or both for a broad range of easily changeable
lighting profiles.
• Independently adjustable warm-dim offers instant adjustments offers a
range of color temperatures and an improved environment for work,
residences, hospitality, or fine-dining.
"Because all the controls can be used in any combination, and the fixture itself is such a sophisticated silhouette, STELLR is truly a game changer for the interior architectural lighting market," notes Alexandra Mathews, Executive Vice President at Lucifer Lighting. "We worked closely with leading design firms and industry consultants, as well as our own in-house engineers to create a beautiful fixture that not only addresses an unmet market need, but also offers a range of effects and an ease in fine-tuning that lighting designers never thought possible in a single fixture."
Downlight: directional light draws attention to specific objects or locations
Wave guide: an advanced polymer glows and creates a soft halo of light when illuminated and is clear when turned off. STELLR is the first lighting fixture to incorporate wave guide technology and also the first to use this hi-tech polymer in a lighting fixture.
Downlight and wave guide: when used together, the fixture creates a luminous ambience with subtle layers of light and shadow.
Warm dim: independent adjustment allows easy changes of mood and atmosphere, along with precise control to reflect changes in natural light and space usage and to support circadian rhythms and improve the quality of the interior environment.
"For 40 years, Lucifer Lighting has been known for creating highly designed diminutive fixtures that use advanced engineering to create a big lighting impact," says Gilbert Mathews, President and CEO of Lucifer Lighting. "When we decided to embark on the design of our first fixture that was meant to be seen as opposed to concealed, we knew we wanted to create something truly innovative, that had never been done before and offering features of real benefit to the design community. STELLR has exceeded all our hopes and expectations."
To find out more, please visit luciferlighting.com or contact Roselyn Mathews at r.mathews@luciferlighting.com
About Lucifer Lighting Company:
Lucifer Lighting Company creates innovative, precision-engineered lighting solutions that designers and architects depend upon to illuminate their most beautiful spaces. For 40 years, this family- owned, San Antonio, TX-based company has led the industry by designing and manufacturing lighting fixtures with the slimmest profiles, most compact housings, and maximum light from the highest-quality sources. You'll find our products everywhere, from the Instagram office in New York to the Natural History Museum in London, the Beverly Hills Hotel, the Wynn Hotels in Macau and Cotai, the Microsoft headquarters in Sweden, the San Francisco Museum of Art, and Polo Ralph Lauren stores worldwide. Our goal has always been the same: to light the world's most beautiful spaces. - luciferlighting.com


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Self-referentiality::Popular culture
Culture::popular Popular::culture Title::books Cultural::music ''The::media American::august
Self-referentiality Owing to the pervasive and increasingly interconnected nature of popular culture, especially its intermingling of complementary distribution sources, some cultural anthropologists, literary, and cultural critics have identified a large amount of intertextuality in popular culture's portrayals of itself. One commentator has suggested this self-referentiality reflects the advancing encroachment of popular culture into every realm of collective experience. "Instead of referring to the real world, much media output devotes itself to referring to other images, other narratives; self-referentiality is all-embracing, although it is rarely taken account of."<ref name="McRobbie000">{{#invoke:citation/CS1|citation |CitationClass=book }} Cultural anthropologist and feminist discourse on cultural studies.</ref> Furthermore, the commentary on the intertextuality and its self-referential nature has itself become the subject of self-referential and recursive commentary.
Many cultural critics have dismissed this as merely a symptom or side-effect of mass consumerism; however, alternate explanations and critique have also been offered. One critic asserts that it reflects a fundamental paradox: the increase in technological and cultural sophistication, combined with an increase in superficiality and dehumanization.<ref name="Dumain000">{{#invoke:citation/CS1|citation |CitationClass=web }} An essay on self-referentiality and American television.</ref>
The long-running animated television series The Simpsons routinely alludes to mainstream media properties, as well as the commercial content of the show itself. In the episode "Bart vs. Thanksgiving", Bart Simpson complains about the crass commercialism of the Macy's Thanksgiving Day Parade while watching television. When he turns his head away from the television, the screen shows an oversized inflatable balloon of himself floating past.
According to television studies scholars specializing in quality television, such as Kristin Thompson, self-referentiality in mainstream American television (especially comedy) reflects and exemplifies the type of progression characterized previously. Thompson<ref>She is the author of Storytelling in Film and Television. Her other publications include Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Harvard University Press, November 1999); Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, August 1988); and, as a co-author with David Bordwell; Film Art: An Introduction (McGraw-Hill College, January 2003); Film History: An Introduction (McGraw-Hill College, August 2002)</ref> argues shows such as The Simpsons use a "...flurry of cultural references, intentionally inconsistent characterization, and considerable self-reflexivity about television conventions and the status of the programme as a television show."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Extreme examples approach a kind of thematic infinite regress wherein distinctions between art and life, commerce and critique, ridicule and homage become intractably blurred.<ref name="Dumain000"/>
Popular culture sections
Intro History and definitions Self-referentiality See also Notes References Further reading External links
Self-referentiality
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Faster Digital Quantum Simulation by Symmetry Protection
Tran, Minh C. and Su, Yuan and Carney, Daniel and Taylor, Jacob M. (2021) Faster Digital Quantum Simulation by Symmetry Protection. PRX Quantum, 2 (1). Art. No. 010323. ISSN 2691-3399. doi:10.1103/prxquantum.2.010323. https://resolver.caltech.edu/CaltechAUTHORS:20210212-131356210
Simulating the dynamics of quantum systems is an important application of quantum computers and has seen a variety of implementations on current hardware. We show that by introducing quantum gates implementing unitary transformations generated by the symmetries of the system, one can induce destructive interference between the errors from different steps of the simulation, effectively giving faster quantum simulation by symmetry protection. We derive rigorous bounds on the error of a symmetry-protected simulation algorithm and identify conditions for optimal symmetry protection. In particular, when the symmetry transformations are chosen as powers of a unitary, the error of the algorithm is approximately projected to the so-called quantum Zeno subspaces. We prove a bound on this approximation error, exponentially improving a recent result of Burgarth, Facchi, Gramegna, and Pascazio. We apply the symmetry-protection technique to the simulations of the XXZ Heisenberg interactions with local disorder and the Schwinger model in quantum field theory. For both systems, the technique can reduce the simulation error by several orders of magnitude over the unprotected simulation. Finally, we provide numerical evidence suggesting that the technique can also protect simulation against other types of coherent, temporally correlated errors, such as the 1/f noise commonly found in solid-state experiments.
https://doi.org/10.1103/prxquantum.2.010323 DOI Article
Tran, Minh C. 0000-0001-7599-9160
Su, Yuan 0000-0003-1144-3563
© 2021 Published by the American Physical Society under the terms of the Creative Commons Attribution 4.0 International license. Further distribution of this work must maintain attribution to the author(s) and the published article's title, journal citation, and DOI. Received 6 July 2020; accepted 12 January 2021; published 12 February 2021. We thank Ryan Babbush, Andrew Childs, Su-Kuan Chu, Zohreh Davoudi, Jens Eisert, Mária Kieferová, Natalie Klco, Hank Lamm, Guang Hao Low, Nhung Nguyen, Alexander Shaw, and Nathan Wiebe for helpful discussions. Partial support for this research is provided by the Princeton Center for Complex Materials, a MRSEC supported by NSF Grant DMR No. 1420541 and by the U.S. Department of Energy, Office of Science, Office of Advanced Scientific Computing Research, Quantum Algorithms Teams and Quantum Testbed Pathfinder programs (Award No. DE-SC0019040). M.C.T. and Y.S. acknowledge additional funding by ARO MURI, NSF (Grant No. CCF-1813814) and Accelerated Research in Quantum Computing (Award No. DE-SC0020312) program. M.C.T also acknowledges DoE BES Materials and Chemical Sciences Research for Quantum Information Science program (Award No. DESC0019449), NSF PFCQC program, AFOSR, AFOSR MURI, ARL CDQI, and NSF PFC at JQI. Y.S. is supported by the Google Ph.D. Fellowship program. He also acknowledges the National Science Foundation RAISE-TAQS 1839204 and Amazon Web Services, AWS Quantum Program. The Institute for Quantum Information and Matter is an NSF Physics Frontiers Center PHY-1733907. Fermilab is operated by Fermi Research Alliance, LLC, under Contract No. DEAC02-07CH11359 with the US Department of Energy. The authors acknowledge the University of Maryland supercomputing resources (http://hpcc.umd.edu) made available for conducting the research reported in this paper.
Institute for Quantum Information and Matter
NSF DMR-1420541
Army Research Office (ARO) UNSPECIFIED
Air Force Office of Scientific Research (AFOSR) UNSPECIFIED
Army Research Laboratory UNSPECIFIED
Google UNSPECIFIED
Amazon Web Services UNSPECIFIED
NSF PHY-1733907
Department of Energy (DOE) DE-AC02-07CH11359
10.1103/prxquantum.2.010323


1950s: teenage boy sits on steps, quietly hangs up phone and sneaks up staircase as man reads newspaper on living room sofa. girl raises hand in classroom and talks to woman.
hd00:30CIRCA 1919 - General Harbord meets Armenian priests at a train depot.
hd00:151950s: Man wears suit, stands on the grass and walks away. Man with special glasses puts the weights on the ground, the old professor walks him near a blackboard and points at it.
hd00:25UNITED STATES 1940s: Kids decorating house / Kids discuss, girl picks up garland, zoom out, boy enters with ladder / Boy sets up ladder.
hd00:231950s: Two women sit at desk with man, talk to man. Man holds newspaper, talks. Papers run through newspaper press. Newspapers and headlines. Woman and men sit at table, talk.


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Pound weakens on fears of no trade deal
By Erin Harding December 18th, 2019
The government said yesterday that it would seek to enshrine the transition date deadline in law, raising fears of the UK leaving without a trade deal. The pound weakened as a result, losing some of its gains of the past few days.
Meanwhile, it's a quiet day for data in the Eurozone, although construction figures mid-morning are expected to show a positive uptick, in contrast to this time last year.
US industrial production beat expectations yesterday, showing the biggest jump in output since October 2017. However, this was tempered by poor manufacturing production.
There's a lot coming up this week which could impact the pound, so make sure to protect your business if you're planning transfers over the coming months. Lock in your exchange rate with a forward contract, so you always know exactly how much you're paying. Speak to your Business Trader on 020 7898 0500 to start.
GBP: Pound weak on no-deal fears
Yesterday, the pound weakened to pre-election lows and it is still low this morning as the government said it will try to illegalise an extension to the Brexit transition deadline. After leaving the EU on the 31st of January, the Prime Minister will have to negotiate a trade deal with the EU, which originally had a flexible deadline of December 2020. However, the government now wishes to make this a hard deadline.
This potentially brings back the threat of a no-deal Brexit, as, if a deal isn't ratified by the end of next year, then the UK will have to leave without a deal. This possibility and increased uncertainty don't tend to fare well with the pound.
As the general election results emerged at the end of last week, business groups urged for negotiations to begin, expressing concern that the UK could abandon the EU's trade agreements before making its own. The director general of the Institute of Directors, Jonathan Geldart, said that "our members have made clear that the content and shape of any new deal are much more important than simply the speed in getting there."
A new Speaker of the House of Commons, Sir Lindsay Hoyle, was elected yesterday, and Johnson made a limited re-shuffle to the cabinet.
Today, they'll be a series of data releases for the UK including inflation rate figures and retail price index. Yesterday's data releases revealed that wage growth has slowed but unemployment is at its lowest since 1975.
1 Wk
EUR: Euro benefits from weak pound
Euro benefitted yesterday from a weak pound as fears about no-deal returned. The UK government is set to enshrine the end of the transition period as December 2020, meaning that, if trade talks are not complete by then, then the period could be up without an agreement.
The Eurozone's trade surplus showed a sharp widening by around €15 billion, according to figures released yesterday. Early this morning, German PPI figures remained unchanged month on month, while Ifo expectations showed a slight increase. Later today, we'll see construction figures, expected to show a rebound from last year's negative data.
USD: Dollar strong despite mixed data
The dollar is strong against the euro and pound today, benefiting from sterling's post-election weakness. President Trump has once again urged the Federal Reserve to cut interest rates and introduce quantitative easing via Twitter. This comes after the Fed left interest rates on hold last week, as policymakers considered the current monetary policy stance appropriate.
US industrial production rose 1.1% month-on-month in November, beating expectations and showing the biggest jump in industrial output since October 2017. However, manufacturing production fell 0.8% year-on-year.


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Mailbox Email Client App for iOS – Review
March 11, 2013 Apps & Software 1 Comment
The Mailbox email client app can be described as a fast, fun and convenient way to manage emails on your Apple device. This is one of the best user-friendly apps for email.
More information about this app
App name: Mailbox
Company: Orchestra
Category: email client, productivity
Seller: Orchestra, Inc.
Latest update: 8th February 2013
Latest version: Version 1.0.1
Cost: Available for free.
The latest version of Mailbox app has bug fixes. This app has received a 4+ rating by customers on iTunes preview.
System requirements for Mailbox App
Mailbox app is optimized for iPhone 5.
Works on iOS 6 or later.
You can download and fire this app on iPhone 3GS, iPhone 4, iPhone 4S and iPhone 5.
This app will also work on 3rd, 4th and 5th generation iPod touch.
Mailbox app will also work on your iPad.
Mailbox App description
These days a majority of users check their emails on their mobile phones. One of the reasons being it is easy and users can access their email even while they are on-the-go. This app checks your email from the cloud and delivers the same to your phone.
As of now, mailbox app has been designed and developed to perform a set of three actions that are related to Gmail accounts per se. If you break down your Gmail email inbox you will realize that about 70 per cent of it is junk email, around 20 per cent of it is informative and only 10 per cent of it needs to be replied to.
How Mailbox app works
Once you download and fire the Mailbox app, you will learn that it looks and feels like a regular email client app. You will find that this app arraigns and displays all your email in a reverse chronological order per the date they were received.
Also displayed will be information about the email that you received. Without even opening the email you will find information like the time the email was received, the subject line, sender of the email and the first line of the email. This app unlike other smartphone email apps provides you with a lot more email options. When you use other email apps, you can either open it and read the email or ignore it.
How to manage emails with Mailbox app
With Mailbox app you can swipe along an email and it will be out of your inbox.
When you swipe half-way on the right through the email you can archive it.
Swipe completely towards the right of the email and it will be deleted.
If you have done away with the email by erasing it, all you need to do is swipe half-way left to get back the email.
One swipe all-the-way towards the left will help you put the email in a folder.
Tap the email to read it.
Visit the link https://itunes.apple.com/us/app/mailbox/id576502633?mt=8 to know more information about this app.
Andrea Walters, a freelance writer for www.satellitesales.com – The Lowest-Priced Satellite TV in America. Dish Network.
iPhone app, Mailbox app
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Look through the MY GARMENTS recommendation pages that have been created for Ellen Sims, our fictionalclient.
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If you are longing to look the best you possibly can I thoroughly recommend this Style Program - it has help me so much.
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After spending 18 months travelling around Australia and working on farms, I got used to wearing tatty clothes and kind of let myself go a bit, hence my self-esteem dropped massively.
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What amazes me is how thorough the guide/portfolio is across so many categories. I honestly did not know what to expect but the depth of the analysis is very impressive indeed. The compliment of the updates on the website and the portfolio and guide to keep things current is very helpful as well. It has made me think of combinations that I otherwise would have overlooked.
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The new updated on-line image program is sensational. The colour, the photos, the modern images and the detail puts it into a class of its own. It's like reading a current fashion magazine that has been tailored to you..... from top to toe.
I purchased the style portfolio and think it is fantastic. The photographs and explanations give so much information; I can indulge in it for ages and then find new sections I had missed. I am more confident when I go shopping and don't have to try all the garments on to work out what does and doesn't work, I can get a really good idea just by looking at It on a hanger. It eliminates so much time in a squishy change room!!! I know what specific styles suit me and what to aim for as I structure outfit combinations.
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My Private Stylist is a web-based version of the highly successful "Your Personal Style Solutions" program that has been used exclusively by Image Consultants around the world for over 18 years.
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Seattle Pacific University provides students with a unique opportunity to explore answers to challenging questions in the context of a caring community. While honoring the diversity among members of our campus community, Seattle Pacific University asks faculty, staff, and students to explore the Christian faith and its implications for our personal and corporate lives, for our academic disciplines, and for the complex issues we face in our society and world. Academic programs along with residential and campus life, co-curricular activities, and community service contribute to Seattle Pacific's vision to be a grace-filled community that nurtures people of competence and character, cultivates the scholarship of wisdom, and equips people to engage our culture with the gospel of Jesus Christ.
Develop outstanding curricular and co-curricular worship, discipleship, and service programs that contribute to the fulfillment of our mission and vision as a Christian university.
Give all students the opportunity to explore the meaning and implications of the Christian faith while at the same time honoring the diversity of our student body.
Encourage students' responsibility for their own spiritual accountability.
Provide abundant opportunities for the development of an informed and thoughtful faith, a vibrant worship life, engagement in a grace-filled community, holistic discipleship, and culture-engaging local and global service.
Facilitate students' growth in leadership abilities through student-led programs.


St. Pius Parish in Redwood City expanded First Friday hours of adoration of the Blessed Sacrament in 2016 from a few hours to 24-hours, the parish said in an update for Catholic San Francisco.
Although well attended by the adult parishioners, time for adoration was not routinely offered to the children in the parish school. The prayer and worship commission identified the need for the children to be exposed to adoration in order to foster their participation in this means of worshipping Jesus Christ.
With support from the parish council, a formal plan was developed to provide the children with both a didactic educational experience on adoration of the Blessed Sacrament, coupled with an interactive experience with the leaders of the educational program subsequent to their adoration experience.
The adoration program built on an already existing "buddy system," which has been in place for many years. The system links older parish school children with younger children to assist the younger children in various school activities. Both the younger children and the older children gain confidence through their relationships with each other, leading to an environment of trust and enhanced learning, the parish said.
The program included both didactic and interactive experiences with the program coordinators. The didactic component included explanation of adoration, worship, the Real Presence, benefits of adoration and theology of Jesus as the second person of the Holy Trinity. The interactive component included conjoint participation in adoration with the children's teachers, the program coordinators and ultimately with the children's individual "buddies." Adoration was followed by debriefings to provide the children with an opportunity to articulate their personal experience.
All nine grades now participate in adoration, and feedback from the children to the coordinators has been positive, "indicative of the children's enjoyment of time with their Lord and Savior, Jesus Christ," the parish said.


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The Killers – The man (new video)
The Killers have just released the music video for their latest single "The man". It's the first new song in five years and comes from their forthcoming fifth studio album "Wonderful wonderful". The video, which was directed by Tim Mattia (Coldplay, Muse, Florence and the machine), sees frontman Brandon Flowers plays various types of [...]
By allaroundnewmusic|2017-06-29T00:06:39+00:00June 29th, 2017|NEW VIDEOS|0 Comments
Robbie Williams – Mixed signals (new video)
Robbie Williams has just released a new music video for his third single "Mixed signals" from his current album "The heavy entertainment show", which was released last November. The track, written by The Killers and produced by Stuart Price (Madonna, Depeche Mode, Pet Shop Boys), was originally intended to be kept by Brandon Flowers [...]
By allaroundnewmusic|2017-03-01T00:01:25+00:00March 1st, 2017|NEW VIDEOS|0 Comments
The Killers & Elton John to collaborate
In a recent interview, Elton John has confirmed that he is teaming up with frontman Brandon Flowers, with a view to contributing material to the LP. "I'm hoping to go to Vegas and write with Brandon for the new Killers record" he said. Elton John is no stranger to collaboration with younger artists, as [...]
By allaroundnewmusic|2017-04-25T15:16:12+00:00February 9th, 2016|NEWS|0 Comments
The Killers – Dirt sledding (new video)
The Killers' annual Christmas song is a tradition that's been running for nine years straight. This year, as always, they're back with another special holiday video. It's called "Dirt sledding." The video is directed by Matthew Gray Gubler. In it, a dirty, likely crazy Santa Claus plays with a Brandon Flowers sock puppet [...]
By allaroundnewmusic|2017-04-13T07:22:40+00:00December 1st, 2015|NEW VIDEOS|0 Comments
Big plans for The Killers
Brandon Flowers has promised fans he and his The Killers bandmates are talking about making a new album. The US group's last album "Battle born" was released in 2012 and since then Brandon has been working on solo material, with "The desired effect" out in May (15). He has promised fans he is already [...]
By allaroundnewmusic|2017-03-30T21:52:09+00:00October 9th, 2015|NEWS|0 Comments
NEW VIDEOS (661)
EUROVISION (53)
K-POP CORNER (58)
WHERE ARE THEY NOW? (52)
Zayn previews new album with single "Vibez" – listen
Alphalove and Conor Maynard link up for club banger "Don't wanna stop"
Nick Carter sings the eighties in his new solo single "80's movie"
Isaiah Firebrace delivers the uplifting new single "You"
Gwen Stefani brings back the ska on new single "Let me reintroduce myself"
Copyright 2016 All Around New Music | All Rights Reserved.


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Portable Sanitation Association International (PSAI) Announces 2016 Award Winners
The Portable Sanitation Association International (PSAI) is the world's largest trade association serving operators and suppliers in the portable restroom or "porta-potty" industry. At its recent Convention and Trade Show in Charlotte, North Carolina, the organization recognized top contributors to excellence in the field.
Minneapolis, Minnesota (PRWEB) March 31, 2016
The Portable Sanitation Association International (PSAI) announced its 2016 award winners in conjunction with its Annual Convention and Trade Show held in Charlotte, North Carolina in mid-March.
THE ANDY GUMP AWARD WENT TO LOU PAULSEN, OWNER OF CAN-DOO BUDJET RENTALS IN ABILENE, TEXAS. Over the past 35 years, Lou has built an exemplary operation in central Texas. He is a talented businessman who had earlier careers in marketing and real estate in addition to owning a marina and flying his own airplane. He entered the portable sanitation space in 1981. Over the years Lou has grown and changed his business as circumstances have evolved, always ensuring his portable sanitation operation is second to none. Lou has leveraged his engaging personality and his marketing acumen to make his business a household name. Among other tactics, he pioneered the use of television advertising for portable sanitation. Lou has been involved in numerous volunteer groups and public projects in the communities where his businesses exist. He says, "If you don't put anything in, you can't expect to get anything out."
The Andy Gump Award is the PSAI's most prestigious honor. It is named for MC "Andy" Gump, a portable sanitation industry pioneer who exemplified the award selection criteria: fairness and integrity in personal and business relationships, working to improve the image of the industry, using innovative approaches, developing new products/services, leading industry colleagues, and exhibiting vision in the face of economic challenges.
THE FLAY AND GLENDA ANTHONY VOLUNTEER OF THE YEAR AWARD WENT TO STEVE BRINTON, VICE PRESIDENT AT SATELLITE INDUSTRIES IN PLYMOUTH, MINNESOTA. Steve has been involved in the portable sanitation industry for nearly 20 years. As a leader in a supplier company, he is in a unique position to see the industry from the perspectives of companies of all sizes, and he has brought that insight to nearly every volunteer role he has held over his many years of work on behalf of the PSAI. Over the years Steve has served on numerous committees, was seated for multiple terms on the Board of Directors, and spearheaded important initiatives. Steve is one of those unique individuals who has a multiplier effect on others. He is able – and willing – to engage others, get them to contribute their own time and resources, and challenges others to be better.
The Flay and Glenda Anthony Volunteer of the Year Award was established in 2015 to recognize individuals who have given exceptional service to the portable sanitation industry through volunteerism. It is named for Flay and the late Glenda Anthony, former owners of Porta John of the Piedmont, whose tireless devotion to the PSAI and the portable sanitation industry set a bar that inspires others to give their best.
THE SERVICE TECHNICIAN OF THE YEAR AWARD WENT TO JAMES L COON OF BILL'S PLUMBING AND SANIKAN IN SEQUIM, WASHINGTON. James is a special events lead and a team foreman for his company. He is usually the first person in the yard in the morning and the last one to leave in the evening. He handles all of the usual duties of a service technician – driving, unit placement, cleaning and pumping. James also organizes the company warehouse and orders parts and supplies for Sanikan. He supervises and monitors the other drivers and routes, stays on top of any health and safety issues in the company, and handles any weather related driving problems. James holds a number of professional certifications, and he has worked with Bill's for more than seven years.
THE SERVICE TECHNICIAN OF THE YEAR RUNNER UP WENT TO THOMAS HORNE OF MR JOHN/RUSSELL REID IN KEASBY, NEW JERSEY. Thomas Horne joined the Mr. John/Russell Reid team 13 years ago and currently serves as a senior restroom trailer delivery/pickup technician for the company. During Thomas' tenure with Mr. John his attendance record and performance as a service technician have bee exemplary. He has been accident-free, and he is a top employee who always meets or exceeds quality expectations.
The Service Technician of the Year Award honors the industry's top service technicians who actively embody the highest standards of our industry. The PSAI Award Committee reviews nominations from around the world in an attempt to identify the most appropriate recipients. One winner and one runner-up are chosen based on an assessment of performance in the following areas: general role performance, quality assurance, internal and external customer service, safety, concern for company equipment, and compliance with employer and industry waste-hauling guidelines.
About PSAI
The Portable Sanitation Association International (PSAI) exists to expand and improve portable sanitation as part of a global approach to serving the public and sustaining the planet. As the largest trade association of its kind in the world, the PSAI Is recognized internationally as a credible, authoritative voice providing education and tools to promote safety and health. Established in 1971, the PSAI develops and promotes industry standards; serves as a repository of information and resources for operators, suppliers, government entities and the general public; and provides recognition for excellence in the field.. The PSAI has its worldwide headquarters in Minneapolis, Minnesota, USA. Visit http://www.PSAI.org for additional Association news and information.
Karleen Kos
Portable Sanitation Association International
Lou Paulsen, 2016 Andy Gump Award Winner Steve Brinton, Flay and Glenda Anthony Volunteer of the Year Award Winner James L Coon, Service Technician of the Year Thomas Horne, Service Technician of the Year Runner Up


You can play regardless of the weather (indoors or outdoors) or skill level of guests. Perfect as a carnival game for schools or churches. Great for other events like company picnics, golf-theme parties and community gatherings. This option comes with 1 hole.
Recommended for use on hard surfaces only.
You can play regardless of the weather (indoors or outdoors) or skill level of guests. Perfect as a carnival game for schools or churches. Great for other events like company picnics, golf-theme parties and community gatherings. This option comes with 3 holes.
You can play regardless of the weather (indoors or outdoors) or skill level of guests. Perfect as a carnival game for schools or churches. Great for other events like company picnics, golf-theme parties and community gatherings. This option comes with 6 holes.
You can play regardless of the weather (indoors or outdoors) or skill level of guests. Perfect as a carnival game for schools or churches. Great for other events like company picnics, golf-theme parties and community gatherings. This option comes with 9 holes.


Deadtown is so much more than just an intriguing and suspenseful story, it's is the future of the graphic novel. The story progresses in a dynamic process which is both natural and powerful. It stays true to the genre by maintaining a streamlined simplicity. This is one time where an ebook is hands down better than one on paper.
As for the story it's a classic tale of the zombie apocalypse with a twist. The art work is incredible. It's highly detailed, dark, and moody. As good or better than any graphic novel I've seen. I look forward to more installments.
Stunning artwork combined with great story. Genuinely can't wait to see what's next. Wasn't sure I'd enjoy reading a graphic novel this way - but the app works seamlessly and really draws you in. Well done.
Emotional start, sick theme and art, and gives the feel of a noir Walking Dead meets Last of Us. Looking forward to more!
Very nicely done!! I like that the comic is easy to move through and enjoy. The amount of text is perfect in conjunction with the captivating art work.


text:
Q: Are there arbitrarily long prime deserts?
Possible Duplicate:
What is the maximum number of consecutive composite numbers possible?

Define a prime desert of length $k$ to be a sequence of numbers $n + 1, n + 2, ..., n + k $ such that $n + i$ is composite for $1 \le i \le k$.  So my question is given a positive integer $k$ is there a prime desert of length $k$?

A: Yes there is always such a prime desert. Consider $(k+1)! +1, (k+1)! +2,\ldots (k+1)! +(k+1).$ Then for $2 \leq i \leq k+1,$ we see that $(k+1)! +i$ is divisible by $i,$ but is strictly greater than $i,$ so can't be prime.

A: Here's an alternative approach that uses some heavier machinery.
We know that, if $\pi(x)$ denotes the number of primes $\leq x$, then $\pi(x)$ grows at roughly the same rate as $\frac{x}{\ln x}$, in the sense that $\lim_{x\to\infty} \frac{\pi(x)}{x/\ln (x)}=1$. (This statement is called The Prime Number Theorem.) Now, if the largest prime desert were of size $k$, then $\pi(x)\geq\frac{x}{k+1}$. But $\lim_{x\to\infty}\frac{x/(k+1)}{x/\ln(x)}=\lim_{x\to\infty}\frac{\ln(x)}{k+1}=\infty$.

A: Yes. It is a nice exercise to show that the numbers $k!+2,\dots, k!+k$ are all composite and thus this is a prime desert of length $k-1$ (so we can get arbitrarily long ones by letting $k$ be large enough). We can of course do better for how large the numbers are by for example starting with $k!-2$ and going down to $k! - k$. I do not know how small we can make the smallest number in order to get a desert of length $k$ though.

redpajama_set_name: RedPajamaStackExchange


text:
Oblique Strategies
Andrei Ionita, cello
Cello Suite No.1 in G major, BWV1007
1 Prelude 2.26
2 Allemande 4.07
3 Courante 2.26
4 Sarabande 3.07
5 Minuet 1 & 2 3.02
6 Gigue 1.51
Brett Dean (b.1961)
Eleven Oblique Strategies (world premiere recording)
7 Listen to the quiet voice 2.18
8 A line has two sides 0.41
9 Don't stress one thing more than any other 0.38
10 Look at a small object, look at its centre 0.45
11 What are the sections sections of? 1.59
12 Don't be frightened to show your talents 1.52
13 Disciplined self-indulgence 0.45
14 Bridges –build – burn 1.03
15 Ghost echoes 2.32
16 Disconnect from desire 2.00
17 In a very large room, very quietly 1.32
Zoltán Kodály (1882-1967)
Sonata for solo cello in B minor, Op.8
18 Allegro maestoso ma appassionato 9.32
19 Adagio (con grand'espressione) 12.50
20 Allegro molto vivace 12.06
Svante Henryson (b.1963)
21 Black Run (from North American Suite) 3.22
Total time 70.58
Andrei Ioniţă, cello
Dating Bach's instrumental works precisely is in many instances impossible – especially in the cases of those pieces that remained unpublished during his lifetime and in some instances for many years afterwards. Some works have come down to us in manuscripts not in the composer's own hand: the most important source for the six suites for unaccompanied cello, for example, is a copy made by the composer's second wife, Anna Magdalena Bach.
There is general agreement, though, that the cello suites date from the period 1717 to 1723, when the composer was employed as Kapellmeister to the music-loving Prince Leopold of Anhalt-Köthen, and probably composed for a member of the court orchestra.
In terms of structure they conform to Bach's standard pattern for the genre: in each instance there's an opening prelude, followed by a sequence of movements in dance form in the regular order Allemande, Courante, Sarabande and Gigue. In between the final two comes an additional pair of movements, collectively referred to as Galanterie (meaning a courtesy): here Bach includes two minuets, though in other instances he might use such alternative forms as the Loure or the Gavotte.
The first suite opens with a Prelude flowing in constant semiquaver motion that has arguably become the best known movement in the entire set of suites and an almost iconic example of Bach's writing for solo cello. This is followed by an Allemande that traverses the instrument's entire range and a vital Courante notable for its melodic leaps. Next comes a stately Sarabande that makes a feature of double- and triple-stopping – the art of sounding two or even three strings simultaneously (or very nearly so), followed by the two Minuets – the first jocular, the second more serious and in the minor key. The final movement is a sturdy Gigue.
Throughout the suite Bach's ability to create a convincingly rich harmonic structure while essentially employing just a single line to do so is a demonstration of his outstanding compositional skill – something equally evident in the works of the Australian composer and instrumentalist Brett Dean.
He was born in Brisbane in 1961 and at the age of 8 began to learn the violin, later moving onto the viola and becoming a leading exponent of the instrument: between 1985 and 1989, for instance, he was a member of the Berlin Philharmonic Orchestra under Herbert von Karajan.
Since 2000 he has been a freelance musician and a composer of increasing prominence and reputation: such works as his operas Bliss (2010) and Hamlet (2017) and his The Lost Art of Letter Writing for violin and orchestra (2007) have all been extremely well received. On this recording we hear a piece written for the Grand Prix Emanuel Feuermann, held in Berlin in November 2014 – an occasion when Andrei Ioniţă was himself a prize-winner.
As Dean himself explains, 'The term "oblique strategies" was coined jointly by British musician Brian Eno and German-born British visual artist Peter Schmidt to describe a series of printed cards they developed throughout the 1970s. The cards had their origins in sets of uncannily similar working principles that both artists had established independently, and featured aphorisms intended as a means of triggering inspiration or providing useful stimulus during the creative process.'
Dean chose of eleven of these, 'ordering them in a way that revealed to me a logic and potential inter-relatedness within a hitherto disparate set of single ideas I had assembled for solo cello.' The result is a striking collection of expertly written character pieces, full of varied technical and interpretative challenges.
One of the greatest works for solo cello is undoubtedly the Sonata by Zoltán Kodály. The Hungarian composer wrote it in 1915 for Jenö Kerpely – the cellist in the Waldbauer-Kerpely Quartet which had already championed his own music as well as that of his friend and colleague Bartók; Kerpely premiered the piece in Budapest in 1918.
The result is a giant contribution to the instrument's repertoire, a work that in its musical and expressive range explores the instrument and its potential to an unprecedented degree.
An unusual feature is its use of scordatura, or retuning: the instrument's two lowest strings are further lowered to B and F sharp respectively, as opposed to the standard C and G: this reflects the key of the piece – B minor – which makes crucial use of these two notes as tonic and dominant respectively.
Throughout his life Kodály made a profound study of folk music, especially from his native land: and although he does not quote any examples in the present work it permeates the sonata's musical language at a fundamental level. It is a feature immediately evident, for instance, in the grand-scale opening movement, whose alternately fierce and soulful but invariably highly charged lyricism charts a rhapsodic course that nevertheless outlines the essential elements of sonata form in its overall structure.
Following a ruminative introduction that recurs later on in expanded form, the main theme of the ternary-form slow movement is a freely moving, decorated melody with the character of a folk lament. This idea leads us on a powerfully emotional journey, initially pinned to a stark, monotonous bass. The frenetic middle section is succeeded by a return to the opening melody, now in amplified and more ornately decorated form.
The finale turns to insistently punchy rhythms, its energetic ideas forged from strenuous folk-dance impulses occasionally and briefly held back only to return with even greater dynamism. Once again the exploratory nature and extravagant inventiveness of the writing take both the performer and the instrument itself to their respective limits.
Born in Stockholm in 1963, Svante Henryson enjoys a varied career that takes in more than one instrument and a huge diversity of contemporary music. He began as a bass guitarist in a rock band at the age of 12, moving on to jazz and the double bass and later classical music: by 1983-4 he was principal double bass in the World Youth Orchestra, subsequently holding the same position in the Oslo Philharmonic and the Norwegian Chamber Orchestra. He has continued to collaborate with leading musicians in jazz, pop, classical and other fields while simultaneously building up a substantial catalogue of his own orchestral, choral and chamber works.
Black Run (2001) – which can be performed with optional percussion accompaniment – is a brilliant piece of virtuoso writing exploring a myriad of techniques and textures along its short but entertaining bluegrass-inspired path.
© George Hall
ANDREI IONIŢĂ
"One of the most exciting cellists to have emerged for a decade"
Anna Picard, The Times
Andrei Ioniţă won First Prize at the 2015 International Tchaikovsky Competition, and prizes at the ARD, Emanuel Feuermann and Aram Khachaturian competitions. He was a BBC New Generation Artist between 2016-18.
Andrei has already performed with the Münchner Philharmoniker, Deutsches Symphonie-Orchester Berlin, Mariinsky Orchestra, Saint Petersburg Philharmonic, Czech Philharmonic, BBC National Orchestra of Wales, BBC Philharmonic, Royal Scottish National Orchestra, The Hallé, Tokyo Philharmonic, San Diego Symphony and Rochester Philharmonic; working with conductors such as Valery Gergiev, Cristian Macelaru, Mikhail Pletnev, Karl-Heinz Steffens, John Storgårds and Omer Meir Wellber.
He has given recitals at Carnegie Hall, Wigmore Hall, Zurich Tonhalle, Konzerthaus Berlin, Elbphilharmonie Hamburg, L'Auditori Barcelona; and at the Kissinger Sommer, Mecklenburg-Vorpommern, Schleswig-Holstein, Verbier and Cheltenham Festivals.
Born in 1994 in Bucharest, Andrei began taking piano lessons at the age of five and received his first cello lesson three years later. He studied under Ani-Marie Paladi at the Iosif Sava Music School in Bucharest and Professor Jens Peter Maintz at the Universität der Künste in Berlin, where he currently resides.
Andrei is a scholarship recipient of the Deutsche Stiftung Musikleben and performs on a Giovanni Battista Rogeri violoncello made in Brescia in 1671 on loan from the foundation.
'The recent BBC New Generation Artist's debut makes for impressive listening…'


text:
Q: What is preventing me from piping from a '600' file into mail within launchd? In OSX 10.6 I'm running logcheck.sh via. launchd using this plist

<?xml version="1.0" encoding="UTF-8"?>
<!DOCTYPE plist PUBLIC "-//Apple Computer//DTD PLIST 1.0//EN"
"http://www.apple.com/DTDs/PropertyList-1.0.dtd">
<plist version="1.0">
<dict>
<key>Label</key><string>org.logcheck</string>
<key>Program</key><string>/opt/local/bin/logcheck.sh</string>
<key>StartInterval</key><integer>600</integer>
</dict>
</plist>

logcheck runs at the specified interval but it won't send me mail using the command below:
cat $TMPDIR/checkreport.$$ | $MAIL -s "$HOSTNAME $DATE system check" $SYSADMIN

where
$TMPDIR=/opt/local/var/tmp
$MAIL=/usr/bin/mail
$SYSADMIN=myuser

however, if I hack it, and change the command to:
cat $TMPDIR/checkreport.$$ > /Users/myuser/report
cat /Users/myuser/report | $MAIL -s "$HOSTNAME $DATE system check" $SYSADMIN

then I receive the mail.
Checking permission on tmp with $ls -l /opt/local/var I get
drwx------  20 root  admin  680 Jul 12 13:29 tmp/

If I run sudo /opt/local/bin/logcheck.sh the first command works.
If I use /opt/local/bin/logcheck.sh in root's crontab the first command works.
If I throw in the script echo "$(whoami)" > /Users/myuser/launchduser I see that it is indeed being run by root.
Why am I not getting mail with the first command in launchd? Is it a permissions issue with the pipe to mail?

A: Out of curiosity, when your script successfully sends the reports, are the bodies empty?
I just ask because your workaround will always generate an email if /Users/myuser/report is writable, even if you can't read $TMPDIR/checkreport.$$. The body will be empty, but you'll get the email with the appropriate subject line.
What happens when you run something like this?
if [ -r $TMPDIR/checkreport.$$ ]; then
    <$TMPDIR/checkreport.$$ $MAIL -s "$HOSTNAME $DATE system check" $SYSADMIN
else
    echo "Unable to read file: $TMPDIR/checkreport.$$" | $MAIL -s "ERROR: $HOSTNAME $DATE system check" $SYSADMIN
fi

This will only attempt to send the report email if $TMPDIR/checkreport.$$ exists and is readable, otherwise you should get an email telling you the explicit filename that it could not read, and you can investigate from there.
As a side note, I just removed the cat command because it spins up an unnecessary process. End result will be the same, but it's a little cleaner to just redirect the file contents straight to your mail command, rather than piping cat's output to it.

A: Your ls output clearly shows that your user can not enter neither read the $TMPDIR, so he can't read the file even if it would be readable to him.
As already pointed out, your second hack simply creates an empty file even if it can't enter the temp dir ... so the mail arrives, but empty.
You should:

*

*add your user to the admin group

*make the $TMPDIR g+rXs
in order to have the file available to the user.

A: I've recently been working on this myself, and have found entries in the system log (/var/log/system.log) that show errors related to this issue, such as:
Nov  1 08:52:14 my-computer com.apple.launchd[1] (org.postfix.master[22591]): Stray process with PGID equal to this dead job: PID 22592 PPID 1 pickup
Nov  1 08:52:14 my-computer com.apple.launchd[1] (org.postfix.master[22591]): Stray process with PGID equal to this dead job: PID 22594 PPID 1 cleanup

I found that my logcheck script and the expected email worked perfectly when executed from the command line, and that the logcheck script was performing its functions well when launched using launchd via a LaunchDaemon script.
However, the mail never arrived when using launchd.  The errors above, and many others, involving postfix and sendmail, indicate that the child sendmail processes were being terminated by launchd (as part of its garbage collection routines?) before they had time to complete.
I added the following key to my plist:
<key>AbandonProcessGroup</key>
</true>

and the mail started flowing when using launchd.  Unfortunately, I still get the stray process/dead job messages in my system.log, which I'm currently working on eliminating.  I've added a sleep 120 line to my logcheck.sh script, which reduced, but has not eliminated, these messages.  I could lengthen the time of the sleep command in logcheck.sh, so that the script persists longer, but I don't like this particular 'hack' and want to find a more elegant solution.  I believe launchd does not begin its garbage collection until after the logcheck.sh process completes....
I'm going to try explicitly lengthening the TimeOut key in the controlling plist, and see if that works better.