If you are in the process of setting up your overall financial plan, then it is important that you include life insurance coverage in the mix. This is because, with the proceeds from a life insurance policy, you can better ensure that your loved ones will not be left with financial hardship and that your promises can be kept.
For example, the proceeds from life insurance, received income tax-free by your beneficiary (or beneficiaries), can be used for a multitude of purposes. Difference purposes could include the payoff of massive debts (such as a mortgage), the payment of ongoing living expenses like utilities and food, and for making sure that a child or grandchild will still be able to pay for their future college education.
When you are purchasing a life insurance policy, there are several essential items that you should ideally keep in mind. These include obtaining the right type and amount of insurance coverage, as well as reviewing the insurance carrier to note whether they are financially secure and that the company is of sound repute for paying out its policy holder claims promptly. One insurance company that does so is Frankenmuth Insurance Company.
Frankenmuth Insurance Company has been in the business of offering insurance protection to its clienteles since 1868. The company's principal mission when providing insurance services to its policy holders is to be the insurer of choice.
The company has grown over the years, due in part to mergers and acquisitions. These include a merger with Patriot Insurance Company in 2010. Frankenmuth has also expanded its overall product line over time, too. For example, it now includes Frankenmuth Surety – which offers a broad range of construction, commercial, and subdivision bonds at competitive terms. This arm of the insurer is licensed in 46 states.
This insurer runs on several core values, including commitment, caring, and teamwork – which can help policy holders to make sure that they have the proper coverage for their specific needs. It also means getting questions or concerns answered quickly and conveniently.
The company is headquartered in the historic city of Frankenmuth, Michigan, and it offers it insurance coverage products in 15 of the U.S. states. Policies are sold primarily via the company's roughly 500 independent insurance agents who also offer personal and commercial coverage options.
In addition to providing insurance coverage, Frankenmuth Insurance Company prides itself on its community involvement, as well as its commitment to quality. The company also believes that, while technology can be convenient, it is important to have a personal relationship between the insurance agent and insured. Therefore, Frankenmuth believes in having a local, independent insurance agent in the area who can build a relationship with customers and policy holders, as well as their loved ones.
The company does offer various online resources to its customers, though, as well as the ability to obtain an online quote for multiple lines of its insurance products. Also, customers/policy holders may log into their account on Frankenmuth Insurance Company's website to view their policy, make types of changes, make a premium payment, and to report a claim.
Because Frankenmuth Insurance is a mutual insurance company, this insurer does not have stockholders to contend to – but rather it is owned by its policy holders. This can be advantages to the company's customers, as in certain cases, they may be eligible for the receipt of dividends (although these are not guaranteed).
There are many different options in which an individual may receive and use a dividend payment. These include just only taking the payment in cash, or using the dividend to purchase additional insurance coverage., Because dividends are a return of premium, they are not considered to be taxable income and do not need to be reported on one's income tax return.
Due in large part to its financial stability, as well as its timely payment of policy holder, claims, Frankenmuth Insurance Company has high ratings from the insurer rating agencies. This includes an A (Excellent) from A.M. Best Company.
Also, while Frankenmuth Insurance is not a Better Business Bureau accredited company, this insurer has been given a grade of A+ by the BBB, based on an overall grade scale of A+ to F. Over the past three years, Frankenmuth Insurance Company has closed out a total of just six customer complaints via the Better Business Bureau (of which four were closed out within the past 12 months). Of the six total customer complaints, four were related to problems with the company's products and/or services, and the other two had to do with billing and/or collection issues.
Frankenmuth Insurance Company provides a selection of both term and permanent life insurance coverage options for individuals, families, and businesses. The proceeds from such policies can help to protect those who are important to the insured from financial stress. This is important – especially during an already difficult time in their lives.
With a term life insurance policy, an insured is covered by pure death benefit protection. Because term life does not provide any cash value or savings build up, it can help to keep the life insurance premium cost down – thus, allowing for coverage where, in some cases, it may not otherwise be affordable.
Term life insurance provides coverage for a set period, or time, such as ten years, 15 years, 20 years, or even for 30 years. Because of this, term life insurance is sometimes also referred to as temporary insurance.
In most cases, term life insurance will maintain a set amount of death benefit throughout the entire time of the policy. Likewise, they will also usually have a set amount of premium during the allocated time frame.
All the term life insurance policies that are offered by Frankenmuth Insurance Company are renewable and convertible. This means that the insured may continue his or her coverage, even after the time has elapsed. If this will occur using term insurance, then the new premium going forward will likely be higher than the original premium amount, as it will be based on the insured's then-current age and health status.
However, an insured may opt instead to convert his or her term life insurance policy over to a permanent plan. That will allow them to lock in coverage for the remainder of their lifetime (if the premium is paid), and to also ensure that the premium will remain the same.
Also, by converting over into a permanent life insurance policy, the insured will have both death benefit protection, and cash value build up in their policy. The cash that is in the cash value can grow and compound over time on a tax deferred basis. This means that there are no taxes due on the gain of these funds unless or until they are withdrawn from the policy.
Cash value proceeds may be used for any number of reasons by the insured, such as the supplementing of retirement income, the payoff of debt, and even for taking a nice vacation.
Frankenmuth Insurance Company also offers a variety of ways to pay the premium on their whole life insurance policies. These can include traditional lifetime payment options, to shorter periods of 10 or 20 years, after which the coverage will be paid up. There are also single premium options where just one single premium is required, and then no more additional premium is needed.
On the personal insurance side, Frankenmuth Insurance Company provides auto, home, renters, umbrella, water craft, and RV (recreational vehicle) insurance coverage. On the business side, the company offers commercial package policies, business owner policies, commercial auto, commercial umbrella, employment practices liability, worker's compensation, equipment breakdown coverage, industry specialties, cyber and data coverage, professional liability insurance coverage, and safety services.
If you are currently looking for the best rates on life insurance coverage through Frankenmuth Insurance Company – or from any insurance carrier – it is important to work with an independent insurance agency or brokerage to provide you with all the information that is needed…including information from other competing companies. Why use a brokerage? Life insurance policies are not all priced exactly alike, even for the very same type and amount of coverage. So, it is essential first to look around and see what may be available to you. This, in turn, could end up saving you lots of premium cost – especially over an extended period.
When you are ready to move forward with searching for coverage and costs, we can help. We are an independent life insurance brokerage, and we partner with many of the top life insurance companies in the industry today. We can provide you with all the details that you will require for making an educated insurance purchasing decision. We can do so for you swiftly, simply, and expediently – all from your computer. If you have questions or concerns or wish to speak with someone, our experts are available. If you are ready to begin the process of finding the best coverage and premium for you, then all you must do is just simply click here to fill out our quote form.
We understand that the purchase of life insurance can be a bit overwhelming. There are so many different variables to consider – and you want to be sure that you are moving in the proper direction with the plan that will suit your needs the best. This can be so much easier when you are working in conjunction with an ally on your side. So, contact us today – we're here to help.


text:
Science|Two Trillion Galaxies, at the Very Least
Take a Number
Two Trillion Galaxies, at the Very Least
A Hubble Space Telescope view of thousands of galaxies made during the Great Observatories Origins Deep Survey.CreditCreditM. Giavialisco/University of Massachusetts, Amherst and NASA
By Henry Fountain
The scale of the universe, already unfathomable, just became even more so: There are about 10 times as many galaxies as previously thought.
The new number, two trillion galaxies, is the result of work led by Christopher J. Conselice, an astrophysicist at the University of Nottingham in England, published last week in The Astrophysical Journal.
Unforgettable Hubble Space Telescope Photos
On the eve of the 25th anniversary of the launch of the Hubble Space Telescope, we asked astronomers and others involved in the telescope's groundbreaking story to tell us about their favorite images.
The team analyzed sky surveys by the Hubble Space Telescope and other instruments able to see far away, and therefore far back, through about 13 billion years of time. The astronomers formed three-dimensional models to measure the number of galaxies at different times.
Because not even the Hubble or large Earth-based telescopes can see the oldest, faintest galaxies, they also did some mathematical work to come up with two trillion.
"It's much bigger than anyone would have guessed," Dr. Conselice said. "And the real number could be even higher."
Previous estimates were that there were perhaps 200 billion galaxies in the observable universe. One might well ask — what difference does it make? Or put another way, once you get past a couple of hundred billion galaxies, who's counting?
But the finding has important implications for understanding how the universe has evolved.
The researchers found that most of the oldest galaxies were low in mass, similar to some of the small "satellite" galaxies near our own Milky Way, and that there were about 10 times fewer low-mass galaxies today. That suggests that over billions of years, galaxies have been colliding and joining together.
The study also suggests how important the more powerful James Webb Space Telescope, set to be launched in 2018, will be.
"It will be able to study these galaxies that we're just barely detecting — these lower-mass galaxies that are really the first galaxies of the universe," Dr. Conselice said.
Like the Science Times page on Facebook. | Sign up for the Science Times newsletter.
A version of this article appears in print on , Section D, Page 3 of the New York edition with the headline: 2 Trillion. Order Reprints | Today's Paper | Subscribe
The Telescope of the 2030s
25 Years Later, Hubble Sees Beyond Troubled Start

redpajama_set_name: RedPajamaCommonCrawl


text:
UNESCO promotes science in peace service (+ photo)
Arzu November 27, 2021 2 min read
The forum of one of the governing bodies of the United Nations, which specializes in education, science, culture and information, meets in the capital between November 9 and 24, with relevant moments such as UNESCO's 75th anniversary and re-election. Second time as director general of the French Audrey Asole.
193 member states adopted the first international framework for open science, which aims to make it more transparent and accessible to humans.
For the first time, this concept was defined as focusing on content and international cooperation, which in principle should allow the use of open licenses and the exchange of data and information for the collective benefit of the scientific achievements and discoveries of mankind. , Really a big challenge.
The Covid-19 epidemic revealed how open scientific practices, including access to scientific publications, data sharing and collaboration, can accelerate research and strengthen the link between scientific policy and society, Azoulay said.
The Director-General said that the recommendations made by UNESCO on the basis of public understanding, investment in infrastructure and services, digital literacy, capacity building and the promotion of innovative approaches would promote inclusive benefit and cooperation in this field.
The 41st General Assembly of UNESCO was also the scene of the adoption of recommendations for the protocol application of artificial intelligence (AI), described here as historically significant.
The world needs the rules of AI for humanity, and we have taken an important step through this first global regulatory framework, which gives states the responsibility to use it at their level, Azole stressed in a press conference on Thursday.
See also Caricom reaffirms unconditional support for Haiti during crisis - Diario Digital Neustro Boss
Recommendations on AI are based on principles such as human rights, individual liberty and protection of the environment, inclusion and promotion of peaceful and just communities.
The regulatory framework includes the demand for data protection, transparency in its use, the use of social bookmarks and UNESCO support in terms of mass monitoring and implementation and evaluation.
The Director-General announced that the recommendations have a UN follow-up mechanism.
At its 41st General Assembly, UNESCO ratified the Paris Declaration, a global call for investment in the future of education, an agreement reached at a meeting of heads of state and heads of state and ministers from 40 countries.
For this sector, the impact on teaching of the Govt-19 epidemic has been noted, which has left 1.6 billion children and adolescents out of the classroom, some of whom, in southern countries, cannot return to them. .
Similarly, the report on the future of education was submitted as a result of two years of work by a commission headed by Ethiopian President Sahle-Vork Jude.
msm / wmr
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text: Q: Как сделать чтобы пользователь мог добавлять блоки(своего рода карточки) JavaScript Делаю приложение для создания распорядка дня на react-native. У меня есть готовые блоки по типу пробежка, чтение, сон и т.д. Я хочу чтобы пользователь нажимая на плюс, выбирал нужный и мог добавлять себе эти блоки, чтобы потом когда он заходил в приложение, там отображалось всё то что он поставил себе.

redpajama_set_name: RedPajamaStackExchange


text:
var grunt=require('grunt');
var fs=require('fs');
var path=require('path');
/** Quick Proxy methods **/
var proxy=function(f,c){
  var fn=f;
  var cn=c;
  return function(){
    fn.apply(cn,Array.prototype.slice.call(arguments));
  };
};
// True if the file path exists.
var fileExists = function() {
  var filepath = path.join.apply(path, arguments);
  return fs.existsSync(filepath);
};
/****
* HisrcCommand - Command which asynchronously generates all sizes for a large image for use with HiSRC.js
* This command assumes that suffix is an array of suffixes in the order [{FULL}, {1/2}, {1/4}].
* for example, a typical use is suffix:['-2x','-1x','-low'] with files: '{PATH}*-2x.jpg'. The actual file
* provided should always be the retina image (eg: 2X) but you can use whatever suffixes you wish.
**/
var HisrcCommand={
  path:'',
  name:'',
  ext:'',
  file:'',
  callback:undefined,
  context:undefined,
  im:undefined,
  init:function (fpath,fsuffix,fcallback,context){
    try{
      this.file=fpath;
      this.suffix=fsuffix;
      var lslash=fpath.lastIndexOf('/');
      var ldot=fpath.lastIndexOf('.');
      this.path=fpath.substr(0,lslash+1);
      this.ext=fpath.substr(ldot+1);
      this.name=fpath.substr(lslash+1,ldot-lslash-1);
      this.im=require('node-imagemagick');
      this.callback=fcallback;

      this.im.identify(['-format','%wx%h',this.file],proxy(this.resize,this));
    }catch(e){
      grunt.log.write('error '+e+"\n");
    }
  },
  resize: function(err,output){
    try{
    grunt.log.write("Resizing image: "+output+"\n");
    this.baseWidth=Number(output.split('x')[0]);
    this.baseHeight=Number(output.split('x')[1]);
    grunt.log.write("To size: "+Math.round(this.baseWidth/2)+"x"+Math.round(this.baseHeight/2)+"\n");
    this.im.resize({
      width:Math.round(this.baseWidth/2),
      height:Math.round(this.baseHeight/2),
      srcPath: this.file,
      dstPath: this.path + this.name.split(this.suffix[0]).join(this.suffix[1]) +'.'+this.ext
    },proxy(this.resize2,this));
    } catch (e){
      grunt.log.write('error '+e+"\n");
    }
  },
  resize2: function(err){
    try{
    grunt.log.write("Resizing lowrez\n");
    grunt.log.write("To size: "+Math.round(this.baseWidth/4)+"x"+Math.round(this.baseHeight/4)+"\n");
    this.im.resize({
      width:Math.round(this.baseWidth/4),
      height:Math.round(this.baseHeight/4),
      srcPath: this.file,
      dstPath: this.path + this.name.split(this.suffix[0]).join(this.suffix[2]) +'.'+this.ext
    },proxy(this.complete,this));
    } catch (e){
      grunt.log.write('error '+e+"\n");
    }
  },
  complete:function(){
    grunt.log.write(" - created responsive for "+this.path + this.name +"."+this.ext+"\n");
    this.callback.apply(this.context,[this,true]);
  },
};

/**
* ResizeCommand
* resizes the specified images or groups of images using the specified parameters
* currently uses the same properties as node-imagemagick
**/
var ResizeCommand={
  props:undefined,
  callback:undefined,
  context:undefined,
  im:undefined,
  init:function(pfrom,pto,pprops,pcallback,pcontext){

    this.props=Object.create(pprops);
    this.props.srcPath=pfrom;
    this.props.dstPath=pto;
    this.callback=pcallback;
    this.context=pcontext;
    this.im=require('node-imagemagick');

    grunt.log.write('resizing:'+this.props.srcPath+"...\n");
    this.im.resize(this.props,proxy(this.complete,this));
  },
  complete:function(err){
    grunt.log.write('created '+this.props.dstPath+"\n");
    if (err !== undefined && err !== null) {
      if (this.context.data.fatals === true) {
        grunt.warn(err);
	  } else {
	    grunt.log.write('error: '+err+"\n");
	  }
	}
    this.callback.apply(this.context,[this,true]);
  }
};

/**
* ConvertCommand
* raw interface to the convert command in imagemagick
* accepts an array of command line arguments
**/
var ConvertCommand={
  args: undefined,
  callback: undefined,
  context: undefined,
  im: undefined,
  init:function(pArgs,pCallback,pContext){
    this.args=pArgs;
    this.callback=pCallback;
    this.context=pContext;
    this.im=require('node-imagemagick');

    grunt.log.write('convert: '+this.args+"...\n");
    this.im.convert(this.args,proxy(this.complete,this));
  },
  complete:function(err){
    grunt.log.write('convert complete...'+"\n");
    if (err !== undefined && err !== null) {
      if (this.context.data.fatals === true) {
        grunt.warn(err);
	  } else {
	    grunt.log.write('error: '+err+"\n");
	  }
	}
    this.callback.apply(this.context,[this,true]);
  }
};

module.exports = function(grunt) {
  // Please see the grunt documentation for more information regarding task and
  // helper creation: https://github.com/gruntjs/grunt/blob/master/docs/toc.md

  // ==========================================================================
  // TASKS
  // ==========================================================================
  /*
   * imagemagick-hisrc TASK
   * takes a file identification expression (usually with wildcards) to create a list of files
   * iterates over the files to generate 1/2 and 1/4 size alternatives for mobile.
   * uses the filename pattern specified in the "suffix" property to save the files.
   */
  grunt.registerMultiTask('imagemagick-hisrc', 'Performs a number of configured tasks', function() {
    var done = this.async();
    grunt.log.write("Beginning ImageMagick processing for HiSRC\n");

    var fls=grunt.file.expand(this.data.files);
    var i=0;
    var count=fls.length;
    var suffix=this.data.suffix;
    var cmds=[];
    var cmd;

    grunt.log.write("CWD:"+process.cwd()+"\n-files:"+fls.length+"\n-pattern:"+this.data.files+"\n");

    function onCmdComplete(cmd,success){
      grunt.log.write("completed : "+cmd.file+"\n");
      cmds.splice(cmds.indexOf(cmd),1);
      if(cmds.length<1){
        done();
      }
    }

    for(i=0;i<fls.length;i++){
      cmd = Object.create(HisrcCommand);
      cmds.push(cmd);
      cmd.init(fls[i],suffix,onCmdComplete,this);
    }
    if(fls.length<1){
      grunt.log.write("Nothing to do\n");
      done();
    }else{
      grunt.log.write("all queued\n");
    }
  });

  /*
  * imagemagick-resize TASK
  * takes a from folder, a to folder, a file pattern, and properties, and resizes the matching
  * files, outputting the resized images to the "to" folder.
  * {from:"folder",to:"folder",files:"*.ext",props{width:100}} etc.
  */
  grunt.registerMultiTask('imagemagick-resize','Resizes images using imagemagick',function(){
    var done= this.async();
    grunt.log.write("Beginning ImageMagick resizing process\n");
    var cmds=[],cmd;
    var i=0;
    var fls=grunt.file.expand(this.data.from+this.data.files);

    function onCmdComplete(cmd,success){
      grunt.log.write("completed:"+cmd.props.dstPath+"\n");
      cmds.splice(cmds.indexOf(cmd),1);
      if(cmds.length<1){
        done();
      }
    }

    if(!fileExists(this.data.to)){
      grunt.file.mkdir(this.data.to);
    }

    for(i=0;i<fls.length;i++){
      cmd=Object.create(ResizeCommand);
      cmds.push(cmd);
      cmd.init(
        fls[i],
        this.data.to+fls[i].substr(this.data.from.length), // replace folder
        this.data.props,
        onCmdComplete,
        this
      );
    }

    if(fls.length<1){
      grunt.log.write("Nothing to do\n");
      done();
    }else{
      grunt.log.write("all queued\n");
    }
  });

  grunt.registerMultiTask('imagemagick-convert','Converts images using imagemagick',function(){
    var done=this.async();
    grunt.log.write("Beginning convert operation\n");
    var cmd=Object.create(ConvertCommand);
    function onCmdComplete(cmd,success){
      grunt.log.write("completed:"+cmd.args+"\n");
      done();
    }
    cmd.init(this.data.args,onCmdComplete,this);
  });
};

redpajama_set_name: RedPajamaGithub


Video games are a constantly developing market with each year witnessing the rise in gamers as well the games.
In the year 2017, it is believed that a total of 2.2 billion gamers across the world, generated around $109 billion USD in game revenues. And why wouldn't it? It's a thriving industry, with millions of developers and programmers, scratching their heads, knitting uncountable lines of programming codes to give you a product that you absolutely fall in love with, with the storylines, the gameplay, the graphics and lot and a lot of other aspects.
There are so many platforms for playing these games, with major ones being Sony PlayStation, Microsft Xbox and Nintendo along with your good old Personal Computers (PC). In the year 2017, Sony and Microsoft, collectively generated revenue of over $14 billion dollars, selling their gaming consoles, subscriptions, first-party gaming and third-party gaming fees.
Did You Know? The most expensive game built to date is "Grand Theft Auto V" that was released in the year 2013. The successful franchise spent $137 million dollars to develop the whole game and later spent another $118 million dollars for the marketing of the game. Sounds huge, right? Rockstar North, the developer of the game, made a billion dollars in the first three days of the game launch. So no you know how big an industry the video game industry really is.
So, what do you think about this list? How many video games titles among these do you own? And do you think there should have been another video game that deserved to be on this list? Let us know your thoughts in the comment section below and we will address them soon. Do not forget to share these with your fellow gaming friends and let them know about "The Top 10 Best Selling Video Games Of The Year 2017". Like, Subscribe and Keep Smiling!!


text:
Die Kommunistische Partei Südossetiens (; ) ist eine politische Partei in der international nur von wenigen Staaten anerkannten Republik Südossetien. Der aktuelle Parteivorsitzende ist Stanislaw Kotschijew, ehemaliger Sprecher des südossetischen Parlaments.

Geschichte
Die Partei wurde 1993 gegründet und wurde am 15. Mai desselben Jahres in den Parteienverbund der Union der Kommunistischen Parteien der Nachfolgestaaten der Sowjetunion aufgenommen. 1994, bei der ersten Parlamentswahl seit der De-facto-Unabhängigkeit des Landes errang die Kommunistische Partei Südossetiens insgesamt 19 der 36 Sitze im Parlament. Bei der Präsidentschaftswahl 1999 erreichte die KP-JUO im ersten Wahlgang mit ihrem Spitzenkandidaten Stanislaw Kotschijew etwa 24 % der Stimmen, es kam zur Stichwahl zwischen Kotschijew und Eduard Kokoity, in der Kotschijew mit 40 % der Stimmen unterlag.

Bei den Parlamentswahlen 2004 konnte die Partei etwa 25 % der Wähler für sich gewinnen. Bei den Parlamentswahlen 2009 erhielt die Partei 22,25 Prozent der Stimmen und war damit knapp hinter der Südossetischen Volkspartei drittstärkste Kraft. Sie war mit acht Sitzen im Südossetischen Parlament vertreten. Bei der Präsidentschaftswahl 2012 erhielt der Spitzenkandidat der Partei, Stanislaw Kotschijew, im ersten Wahlgang lediglich etwa 5,3 % der Stimmen. Bei späteren Präsidentschaftswahlen trat seither kein Kandidat der Partei mehr an. Bei den Parlamentswahlen 2014 konnte die Partei nur 4,4 % erreichen und verpasste damit den Einzug ins Parlament. 2019 konnte der KP-JOU mit 7,3 % der Wiedereinzug ins Parlament gelingen. Sie ist seither mit einem Sitz vertreten.

Weblinks
 kpruo.ru - Offizielle Webseite (russisch, ossetisch)

Einzelnachweise

Partei (Südossetien)
Südossetien
Gegründet 1993

redpajama_set_name: RedPajamaWikipedia


text:
Elaine Morgan Cutting
5 Sensational Reasons to RSVP For the Descanso Experience
Tacos and Cold Ones
These 5 Fitness Studios in Long Beach Are Here to Make Your Fitness Resolutions Attainable
These San Diego Studios Will Help You Lose Weight Without Moving a Muscle
These 5 Greater Palm Springs Hotels Are So Fun, Your Bags Will Practically Pack Themselves
New Year's Eve 2020: 20 New Year's Eve Celebrations to Ring in the New Year in Southern California
Casey Lesher, Multimillion Dollar Real Estate Agent, Is at the Top of His Game
HÔM Is Where the Heart Is for Casey Lesher
Written By: Elaine Morgan Cutting
Photographed By: Chad Mellon
Expert: Casey Lesher
Credentials: Real Estate Professional, HÔM Sotheby's International Realty
Always Classic: Casey has a passion for classic cars.
An eye for style, a ruthless salesman charm, and a deep passion for his trade has made Casey Lesher a real estate legend in the Newport Beach circuit. Flawlessly completing multimillion dollar transactions is part of his daily routine. Lesher now works for HÔM Sotheby's International Realty as one of the top agents in Orange County. He takes particular pride in getting called to homes that have been unsuccessful in the market and putting in the work to getting them sold quickly and often for more than expected. We had the opportunity to talk with him about his start in real estate and what drives his passion for this profession.
Q: What attracted you to real estate?
Casey Lesher: I was maybe 10 years old and there was a real estate office that I used to walk past. I was so intrigued by the cars in the parking lot. It was the late '70s and real estate agents drove brand new Cadillacs. I went in there and I started talking to them. I became intrigued. I started passing out flyers and becoming familiar with their listings and the different neighborhoods and began to learn everything about that business.
Q: Tell us a little bit about the journey to how you became a real estate agent.
CL: Out of high school, I got a job at a bank. My intent was to start real estate, but before the summer was over, I got promoted to a supervisor position, so I just kept with that. I learned so much about customer service and people, but I knew I wanted more, so I went to work for a large printing company. I got bored, so I started flipping houses. I became so unimpressed with these agents, and it was just killing me because I knew I could do so much better. So finally, in 2007 I sold everything I owned, and I jumped. Everyone thought I was crazy because the market had literally stopped. But my first year, I sold $25 million. It just seemed to come naturally.
Q: What has helped you continue to be so successful during difficult times?
CL: The market gets hot and cold very quick. I call it an active market. Homes that are the latest design trend sell very quick for top dollar. I know what these buyers are looking for and I know how to get homes to look like that or at least get in that direction, and that's a big part of my success. I also am so passionate. When I walk in a door, I know how much a house is worth and what it's going to sell for. It's just in my blood.
Q: Can you tell us about your most memorable sell?
CL: It was your quintessential Corona Del Mar cottage as cute as could be. The seller was a high end professional photographer that I was proud to represent. She trusted me to sell her home and she stood out of the way and we sold it for full price. The buyer also loved the home. She was moving from the east coast and her mother lived behind it. Her mother was so excited. My client was so excited to retire. Everyone was crying at the end, everyone was so happy. It's exactly why I got into the business, helping the seller sell and helping the buyer buy.
Q: What is the most rewarding aspect of this job?
CL: When a seller is willing to trust my experience, even if they don't understand it. When they follow the direction that we decided to go and the home sells for hundreds of thousands of dollars more. That's just more rewarding than I can even say. It's so much fun to get in there and do these few things that sometimes don't make sense, but at the end of the day gets the home sold quickly and for more money.
Q: What is the most trying aspect and how do you work past it?
CL: People hiring real estate agents because they're friends or family. It puts an inexperienced person in the middle of a multimillion dollar transition. It's critical that things are presented in a non-confrontational way. It's such an emotional process, if not managed correctly can break a deal or cost a lot of money. For instance, rather than an agent coming to me and saying 'my buyer, ' it's important to refer to the buyer as 'our buyer' because we're working on this together.
Q: Describe your perfect home.
CL: I'm a classic guy. I know what the latest design trends are, but personally, I like living in an old midcentury ranch house. I love the timeless classic designs of the '60s. Today, people like buying brand new homes that are built by Patterson or Nicholson; I get multiple offers and they're very exciting to sell.
Q: When you're not selling homes, what do you enjoy doing in your free time?
CL: My number one passion is real estate, there's no question about that. My number two passion is classic cars. They're the cars in the parking lot of that real estate office in the seventies. I have a '86 Jaguar Vanden Plas which is in showroom condition. And I have a '76 Cadillac Eldorado convertible that's triple green in color.
Q: Do you have any advice for future homebuyers or sellers?
CL: I think a lot of times these people get the impression that real estate agents just want to dump their houses. Find an agent, like me, who loves what they're doing, and listen to them. It'll be the best thing they'll ever do, they'll make a fortune.
Q: What's next for you? What are your goals for the future?
CL: I want to exit the business like Karen Lynch; on top. Karen Lynch had the market share in Corona Del Mar. I've never met her, but I hope to meet her one day. But she hustled, she was a number one performer and she got out on top. I just totally admire that, and I admire her for everything she did.
What's in a Name? Corona del Mar means "Crown of the Sea" in Spanish. What a fitting neighborhood for a king in much of Orange County's real estate!
Hot Commodity: Marketed as "the last American convertible" by GM in 1976, the Cadillac Eldorado convertible was a popular purchase. Nearly 14, 000 were sold—and Casey has one in his collection.
HÔM Sotheby's International Realty
Newport Beach/Corporate Office
1200 Newport Center Dr Ste 100
Casey Lesher
BRE# 01795953
An OC Native's Fun-Filled Week Includes Delicious Prime Rib!
Ivy Park's New Spring Line is Flawless
Elaine moved across the country to Orange County with her family when she was twelve. She is passionate about frequenting and featuring local businesses and stories. She graduated from University of California Irvine with double majors in English and Literary Journalism. In her free time, you'll probably find Elaine at a local coffee shop reading or working avidly on her next writing project.


In 1988 Israel's right to exist was recognised following the Palestinian Declaration of Independence which was proclaimed by Yasser Arafat, the chairman of the Palestine Liberation Organisation (PLO). Whilst the declaration did not explicitly recognise the State of Israel, Yasser Arafat, who was then elected as the first President of the State of Palestine, acknowledged Israel's right to exist and stated that he was in support of the two-state solution to the Israel in Geneva.
The declaration opens with the words, "Palestine, the land of the three monotheistic faiths…", a statement that is significant as it showed recognition for the fact that Judaism is integral to the heritage of the ancient land. A further significance of this declaration was that it called for multilateral negotiations on the basis of UN Security Council Resolution 242, a call that was later regarded as "the Historic Compromise," particularly because it no longer questioned the legitimacy of the State of Israel.


Dosas and Idlis are pretty standard in an Indian's life. A Dosa is a savory Indian Crepe that is served with Sambar and/or chutney. An Idli is an Indian version of a steamed dumpling also served with Sambar and/or chutney. Both these delicious foods are made with one simple batter preparation. It takes skill and lots of practice to make good batter. I have made many mistakes myself and mastered the batter only after several attempts. My post will make an attempt to gather all these best practices so that you can master this art in even fewer trials.
Cooked Idlis look like this.
Idlis are not forgiving. You can either make them well or they will turn out like rocks. Once again, that entirely depends on the batter.


Soaring cathedral ceilings in the family and dining rooms enhance the atmosphere, and a fireplace warms both the family and dining areas.
The kitchen is open to the breakfast nook which has access to a small rear patio - a perfect place for your morning coffee.
Two bedrooms share the bath with a walk-in shower and large tub. A laundry room and a bonus room above the garage - perfect for your personal fitness room - complete this house plan.
Total Heated Area: 1,548 sq. ft.


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More details of electric Vauxhall Mokka emerge
2020 Vauxhall Mokka-e
Vauxhall has revealed the second generation of its compact bestseller, a powerful, completely new and all-electric Mokka. This will be the first EV model for the English company. The SUV will have an electric motor that can deliver 100 kW (136 hp) and 260 Nm of maximum torque. Drivers will be able to choose between three drive modes: Normal, Eco and Sport.
The top speed is electronically limited to 93mph to preserve the energy stored in the 50kWh battery. The car will have an impressive 100kW DC fast-charging system allowing charging 80% of the battery in a mere 30 minutes. The Mokka-e will have a range of up to 201 miles in the Normal mode, and with the Eco mode that range will increase, according to company officials.
2020 Opel Mokka-e
This model is meant to bring one of the most iconic British companies into the future, according to Stephen Norman, managing director of Vauxhall Motors.
"New Mokka is the start of a new direction for the Vauxhall Brand. Fully electric from launch and packed with innovative technologies bringing the best of automotive mobility to all. Vauxhall may be Britain's oldest car manufacturer but with New Mokka it is defining itself to lead in an exciting and innovative future," he said.
The new Vauxhall Mokka is 12.5 cm shorter than the previous generation, however it still offers five passengers a similar loading space of up to 350 litres in its luggage compartment. Its total length of only 4.15 metres makes it very compact and easy to manoeuvre and park around the city.
The model will also include advanced systems such as Adaptive Cruise Control (ACC), with Stop and Go function, which will enable the driver to easily endure traffic jams: the electric Mokka-e can automatically adjust its speed to the one of the vehicle in front without requiring any operation on the brake or the accelerator. In addition, an Active Lane Positioning system automatically keeps the vehicle in the centre of a lane.
This model will be a new version of the company's highly efficient multi-energy platform e-CMP (Common Modular Platform). This lightweight and efficient modular system offers maximum flexibility in vehicle development. The engineering team has particularly worked on significant weight reduction, saving up to 120 kg from the previous generation, and at the same time enhancing the body strength, gaining up to 30% torsional stiffness for the electric version with its low-mounted, integrated battery structure.
Keen observers may spot some specification similarities between the Mokka-e and Citroen's recently launched E-C4. That's because they both use PSA Group's e-CMP platform.
The company also made sure to improve the interiors of the car. On this model customers will see a horizontally stretched instrument panel that integrates two widescreen displays. However, to allow intuitive usage and the driver's continuous focus on the road, Vauxhall designers kept control buttons for essential functions, avoiding hazardous exploration into sub-menus.
The Mokka is also the first model to show the new and unique branded front fascia: the Vauxhall Vizor. Extending across the entire front of the vehicle below the bonnet, the Vauxhall Vizor is an elegant module that horizontally frames brand features such as the latest-generation LED matrix headlights and the typical wing signature of the LED daytime running lights, proudly punctuated in its centre by the legendary Vauxhall Griffin. The design will be featured on all of the Vauxhall's models throughout the 2020s.
Tags: VauxhallVauxhall MokkaVauxhall Mokka-e
WhichEV Guide to Chargers Part 1: Plug Types, Power Output and Charging Rates
BMW may be making the shift to EVs at last


Cilic has made two grand slam finals since but Nishikori has never been back and will now take on either twice US Open champion Novak Djokovic or unseeded Australian John Millman for a spot in Sunday's final. With Millman serving at 4-5, Djokovic finally converted one - albeit only when the Aussie double-faulted.
The victory for Nishikori means that for the first time in the open era there will be a Japanese man and woman contesting the semifinals of a grand slam as Naomi Osaka cruised past Ukraine's Lesia Tsurenko 6-1 6-1.
"I've gotten a lot better managing my emotions once it gets to this part and knowing that everything is going to be probably more amped up", she said. I feel it is a big chance for her.
Tsurenko didn't appear bothered by the conditions, but whether it was her health or just first-time jitters, she was off from the minute she stepped onto the court at Arthur Ashe Stadium.
It was a case of sweet revenge for Nishikori as he outlasted Cilic, four years after losing to the Croatian player in the final of the US Open.
John McEnroe was accused by American pro tennis player Mitchell Krueger of "ripping" Millman in the preview as the story continued that Federer lost the match because of the stifling NY heat and humidity rather than his opponent.
Earlier, Nishikori defeated the man he lost to in the final four years ago, Marin Cilic 2-6 6-4 7-6 (5) 4-6 6-4. Then after that I felt like third and fourth I played very well. That all changed in the middle of the second set, when the Croat with the score 4:2 managed to lose four games in a row. "I tried to swing a little more, play aggressive and start working better from 4-2 down", he added.
Djokovic, who was a little tired at the time, was more than happy to take a break which turned out to be about six minutes. Just put me back a bit on my back foot. For men's singles matches, the break would come between the third and fourth sets.
"Especially after coming from injury", he said, "I think I'm enjoying this challenge".


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Q: How does the global variable declaration solve the stack overflow in C? I have some C code.
What it does is simple, get some array from io, then sort it.
#include <stdio.h>
#include <stdlib.h>

#define ARRAY_MAX 2000000

int main(void) {
    int my_array[ARRAY_MAX];
    int w[ARRAY_MAX];
    int count = 0;

    while (count < ARRAY_MAX && 1 == scanf("%d", &my_array[count])) {
        count++;
    }

    merge_sort(my_array, w, count);
    return EXIT_SUCCESS;
}

And it works well, but if I really give it a group of number which is 2000000, it cause a stack overflow. Yes, it used up all the stack. One of the solution is to use malloc() to allocate a memory space for these 2 variables, to move them to the heap, so no problem at all.
The other solution is to move the below 2 declaration to the global scope, to make them global variables.
    int my_array[ARRAY_MAX];
    int w[ARRAY_MAX];

My tutor told me that this solution does the same job: to move these 2 variables into the heap.
But I checked some documents online. Global variables, without initialisation, they will reside in the bss segment, right?
I checked online, the size of this section is just few bytes.
How could it prevent the stack overflow?
Or, because these 2 types are array, so they are pointers, and global pointers reside in data segment, and it indicates the size of data segment can be dynamically changed as well?

A: The bss (block started by symbol) section is tiny in the object file (4 or 8 bytes) but the value stored is the number of bytes of zeroed memory to allocate after the initialized data.
It avoids the stack overflow by allocating the storage 'not on the stack'.  It is normally in the data segment, after the text segment and before the start of the heap segment — but that simple memory picture can be more complicated these days.
Officially, there should be caveats about 'the standard doesn't say that there must be a stack' and various other minor bits'n'pieces, but that doesn't alter the substance of the answer.  The bss section is small because it is a single number — but the number can represent an awful lot of memory.

A: Disclaimer: This is not a guide, it is an overview. It is based on how Linux does things, though I may have gotten some details wrong. Most (desktop) operating systems use a very similar model, with different details. Additionally, this only applies to userspace programs. Which is what you're writing unless you're developing for the kernel or working on modules (linux), drivers (windows), kernel extensions (osx).
Virtual Memory: I'll go into more detail below, but the gist is that each process gets an exclusive 32-/64-bit address space. And obviously a process' entire address space does not always map to real memory. This means A) one process' addresses mean nothing to another process and B) the OS decides which parts of a process' address space are loaded into real memory and which parts can stay on disk, at any given point in time.
Executable File Format
Executable files have a number of different sections. The ones we care about here are .text, .data, .bss, and .rodata. The .text section is your code. The .data and .bss sections are global variables. The .rodata section is constant-value 'variables' (aka consts). Consts are things like error strings and other messages, or perhaps magic numbers. Values that your program needs to refer to but never change. The .data section stores global variables that have an initial value. This includes variables defined as <type> <varname> = <value>;. E.g. a data structure containing state variables, with initial values, that your program uses to keep track of itself. The .bss section records global variables that do not have an initial value, or that have an initial value of zero. This includes variables defined as <type> <varname>; and <type> <varname> = 0;. Since the compiler and the OS both know that variables in the .bss section should be initialized to zero, there's no reason to actually store all of those zeros. So the executable file only stores variable metadata, including the amount of memory that should be allocated for the variable.
Process Memory Layout
When the OS loads your executable, it creates six memory segments. The bss, data, and text segments are all located together. The data and text segments are loaded (not really, see virtual memory) from the file. The bss section is allocated to the size of all of your uninitialized/zero-initialized variables (see VM). The memory mapping segment is similar to the data and text segments in that it consists of blocks of memory that are loaded (see VM) from files. This is where dynamic libraries are loaded.
The bss, data, and text segments are fixed-size. The memory mapping segment is effectively fixed-size, but it will grow when your program loads a new dynamic library or uses another memory mapping function. However, this does not happen often and the size increase is always the size of the library or file (or shared memory) being mapped.
The Stack
The stack is a bit more complicated. A zone of memory, the size of which is determined by the program, is reserved for the stack. The top of the stack (low memory address) is initialized with the main function's variables. During execution, more variables may be added to or removed from the bottom of the stack. Pushing data onto the stack 'grows' it down (higher memory address), increasing stack pointer (which maintains the address of the bottom of the stack). Popping data off the stack shrinks it up, reducing the stack pointer. When a function is called, the address of the next instruction in the calling function (the return address, within the text segment) is pushed onto the stack. When a function returns, it restores the stack to the state it was in before the function was called (everything it pushed onto the stack is popped off) and jumps to the return address.
If the stack grows too large, the result is dependent on many factors. Sometimes you get a stack overflow. Sometimes the run-time (in your case, the C runtime) tries to allocate more memory for the stack. This topic is beyond the scope of this answer.
The Heap
The heap is used for dynamic memory allocation. Memory allocated with one of the alloc functions lives on the heap. All other memory allocations are not on the heap. The heap starts as a large block of unused memory. When you allocate memory on the heap, the OS tries to find space within the heap for your allocation. I'm not going to go over how the actual allocation process works.
Virtual Memory
The OS makes your process think that it has the entire 32-/64-bit memory space to play in. Obviously, this is impossible; often this would mean your process had access to more memory than your computer physically has; on a 32-bit processor with 4GB of memory, this would mean your process had access to every bit of memory, with no room left for other processes.
The addresses that your process uses are fake. They do not map to actual memory. Additionally, most of the memory in your process' address space is inaccessible, because it refers to nothing (on a 32-bit processor it may not be most). The ranges of usable/valid addresses are partitioned into pages. The kernel maintains a page table for each process.
When your executable is loaded and when your process loads a file, in reality, it is mapped to one or more pages. The OS does not necessarily actually load that file into memory. What it does is create enough entries in the page table to cover the entire file while notating that those pages are backed by a file. Entries in the page table have two flags and an address. The first flag (valid/invalid) indicates whether or not the page is loaded in real memory. If the page is not loaded, the other flag and the address are meaningless. If the page is loaded, the second flag indicates whether or not the page's real memory has been modified since it was loaded and the address maps the page to real memory.
The stack, heap, and bss work similarly, except they are not backed by a 'real' file. If the OS decides that one of your process' pages isn't being used, it will unload that page. Before it unloads the page, if the modified flag is set in the page table for that page, it will save the page to disk somewhere. This means that if a page in the stack or heap is unloaded, a 'file' will be created that now maps to that page.
When your process tries to access a (virtual) memory address, the kernel/memory management hardware uses the page table to translate that virtual address to a real memory address. If the valid/invalid flag is invalid, a page fault is triggered. The kernel pauses your process, locates or makes a free page, loads part of the mapped file (or fake file for the stack or heap) into that page, sets the valid/invalid flag to valid, updates the address, then reruns the original instruction that triggered the page fault.
AFAIK, the bss section is a special page or pages. When a page in this section is first accessed (and triggers a page fault), the page is zeroed before the kernel returns control to your process. This means that the kernel doesn't pre-zero the entire bss section when your process is loaded.
Further Reading

*

*Anatomy of a Program in Memory

*How the Kernel Manages Your Memory

A: Global variables are not allocated on the stack. They are allocated in the data segment (if initialised) or the bss (if they are uninitialised).


My interests are mammalian energetics and physiology. I graduated from La Trobe University, Melbourne, in 2015, with a Bachelor of Animal and Veterinary Biosciences. After having been involved with local groups (Melbourne bat box monitoring program, JABS Joey and Bat Sanctuary), I grew interested in bat ecology and current bat research.
I completed an honours year at La Trobe University, in 2016, with Gould's Wattled bat, Chalinolobus gouldii. Using open-flow respirometry and bomb calorimetry, we were able to observe pre and postprandial responses of C. gouldii to two meal sizes. Specifically we found BMR and AMR of their respective metabolic profiles. For their digestive energetics, we identified meal retention time, digestive efficiency and stomach capacity.
During 2017, I worked as an undergraduate laboratory demonstrator, while also taking on local research roles and one internal role. In June, 2017, I worked as a field assistant for a Harvard University PhD project, based in the Darién province, Panama. Here, our team worked on Serranía de Majé, at the Chucantí Nature Reserve, located in a highly biodiverse and isolated cloud forest. Primarily we sought to examine a hyperparasitic fungi associated with ectoparasitic flies on neotropical bats.
Energetics is fundamental to animal ecology, and maintenance of a positive energy balance is presumed to be important to the behavior of flying-foxes. Current bio-logging technology allows researchers to monitor the energy costs of wild flying-foxes during resting and activity under natural environmental conditions.
Thermoregulatory metabolism will be a large component of the daily energy budget of flying foxes, and its cost is determined by body mass, roosting behavior and environmental conditions. A reduction in body temperature while resting (i.e. torpor) is an important mechanism employed by smaller bats and many other mammals to reduce their daily energy requirements (e.g. when food is unavailable or foraging costs are high). Flying-foxes must also cope with exposure to extremely hot conditions, which can result in severe heat stress and even large-scale die-off events.
The energy costs of activity are also important and recent advances in body acceleration sensing allow the annotation of spatial movement traces with energy costs associated with different behaviours in wild animals. This project will use these bio-logging methods to understand and predict how energetics affect the behavior and movements of flying-foxes over space and time.


TSC Auto ID Auto ID Technology is Asia's largest manufacturer of thermal-transfer label printers, distributing its products through a worldwide network of value-added resellers. Our high-value desktop and durable industrial-class thermal label printerss are the product of more than 20 years of printer design and manufacturing experience.
TSC label printers are available in as either direct thermal only or thermal transfer / direct thermal configurations. Our models that are designed for thermal transfer printing can be run in direct thermal or thermal transfer mode. Direct thermal mode uses heat sensitive labels that darken to form barcodes, graphics and printed text as heat is applied by the printer's print head. Direct thermal labels are suitable for short shelf life labels which are not exposed to extreme light or heat.
Thermal transfer printing requires the use of a ribbon and prints labels suitable for many environments. Applications for thermal transfer label printers include many forms of signage, manufacturing identification, product identification, asset tagging, and a host of other solutions. Ribbon and label combinations are available that provide resistance against abrasion, heavy wear, temperature extremes and chemical damage.
TSC thermal label printers support text printing in any language font, including True-Type™ fonts. True-Type fonts can simply be copied to the printer and font sizes can be scaled internally by the printer. TSC label printers also handle all standard barcodes including two dimensional codes. Graphic support includes .PCX and .BMP formats. Label formats of any print size or orientation are available.
TSC label printers support print resolutions of 203 dpi (8 dots/mm), 300 dpi (12 dots/mm) and 600 dpi (24 dots/mm). Most print solutions can be adequately handled by a 203 dpi printer while 300 dpi provides the ability to print high quality, small print labels and 600 dpi provides specialized very fine print capabilities.
TSC offers a comprehensive selection of printers that support print widths of 2 inches (58mm), 4 inches (108mm), 6 inches (168mm) and 8 inches (219 mm) wide allowing our customers to select the most affordable solution for their printing needs.
All TSC label printers are designed for ease-of-use concerning the replacement of either ribbon or print media supplies. Sophisticated label registration and top-of-form detection is supported by sensors designed to detect label gap, black mark, or notch.
The print speed of TSC label printers is model dependent, with top speeds ranging from 3 inches per second up to a very fast 12 inches per second.
TSC printers can print on a large variety of materials including a host of coated and non-coated papers, and a variety of synthetic materials including polyester, polypropylene, Tyvek, vinyl, and mylar. TSC desktop and industrial model printers are among the most popular in the world for use with synthetic materials due to their robust design and large power supplies.
Batch mode – print jobs of any desired number of labels may be sent to the printer.
On Demand – sensors can be used to detect when a label is removed from the printer and command the printer to image and print the next label.
Cut – labels can be cut automatically to separate each individual label or a batch of labels.
Peeled – the printer can be configured to peel the backing away from the label for easy application of the printed label. Sensors are used to detect when a peeled label is removed from the printer to image and print the next label.
Rewound – labels may be either rewound inside the printer, or using an optional external rewinder.


Pain management continues to be a significant issue for both patients and nurses. Nurses have not implemented current pain standards into clinical practice. The purpose of this study is to examine the relationship between nurses' knowledge of pain management and the pain outcomes of postoperative orthopedic patients in a Midwestern community hospital. The sample consists of registered nurses (N = 32) and patients having surgery (N = 46). Data will be collected using The Toronto Pain Inventory to measure pain knowledge of nurses and The Patient Pain Interview. The conceptual model of this study is the Gate Control Theory. Findings will provide information about nurses' pain knowledge and patient outcomes for use in the development of an educational program to increase nurses' pain knowledge.


text:
Apollo Awards 2021
Rakewell
Art travel
Art News Daily
Apollo Events
Surface tension: the glamorous world of Noël Coward
Stephen Patience
Noël Coward and Gertrude Lawrence in Private Lives (1931) at Times Square Theatre, New York. Photo: Vandamm Studio; © The New York Public Library for the Performing Arts
From the March 2021 issue of Apollo. Preview and subscribe here.
'Let's be superficial,' declares the divorcé Elyot in Noël Coward's play Private Lives (1930). 'Let's savour the delight of the moment. Come and kiss me, darling, before your body rots and worms pop in and out of your eye sockets.' In this macabre credo – one which takes the idea of carpe diem and runs with it to dark places – he encapsulates the mood of his time: a hedonistic delight in surface glamour that served to mask untold depths of trauma. This new mood demanded a new mode of expression, and it readily found one as the trends that had been simmering away for some time in art, architecture and fashion boiled over into the mainstream.
Coward and his contemporaries were the century's children: their adolescence spent against a backdrop of mechanised warfare, coming of age in a profoundly scarred world. This is keenly evoked in Cavalcade (1931), an upstairs-downstairs drama depicting the impact of three decades of national events on a well-to-do family and their working-class 'help', in which the war becomes a manic roundelay of popular song. It is just one example of how his theatrical innovations not only chronicled his times, but also helped to define our perceptions of them. 'Coward's brilliant staging of World War I as an increasingly sinister music-hall number would affect Hollywood war montages for the rest of the decade, and would still seem avant-garde 30 years later when it became the whole idiom for Oh! What a Lovely War,' observes Brad Rosenstein, who curated the exhibition 'Noël Coward: Art and Style' at the Guildhall Art Gallery in London (due to open when restrictions are lifted).
Sonnie Hale and chorus in 'Dance, Little Lady' (with masks designed by Oliver Messel) from This Year of Grace (1928), photographed by Lenare. University of Bristol Theatre Collection/ArenaPAL
With the comfortable certainties of Edwardian England gone, Coward's generation were acutely aware not only that they lived in a post-war era, but very probably a pre-war one, too. This was characterised by the almost hysterical party lifestyle of the flappers, a sybaritic breed who lived in a whirl of cocktails, cigarettes and gramophone records. Contrasted with the frumpy, archaic fashions of the previous decade, it is tempting to see in their ascending hemlines the curtain rising on modernity. It was a generation documented and satirised by Coward in songs such as 'I Went to a Marvellous Party' or the sinister staging of 'Dance, Little Lady' in the revue This Year of Grace (1928), in which the dancers were kitted out in papier-mâché masks (designed by Oliver Messel) that took the idea of 'putting on a happy face' to surreal extremes. The routine presented a stark visual that was almost Dadaist in tone, bringing something of the alienation of a performance at the Cabaret Voltaire to a mainstream if sophisticated West End audience. In Cavalcade, the chorus of war is similarly followed by a descent into chaos and confusion, with the realist style of earlier scenes displaced by an angular modernism more in tune with the raucous Jazz Age. As the blaring brass bounced off the chromium steel of Bauhaus-influenced furniture, with a prismatic backdrop that owed much to De Stijl, the actress Binnie Barnes performed 'Twentieth Century Blues', another song that touches on the world-weary sense of anomie that lies behind the partying facade. ('What is there to strive for, / Love or keep alive for / Say Hey, hey! / Call it a day?')
The collapse of societal norms is a central motif in Coward's early dramas, which strike the middle ground between Oscar Wilde and Harold Pinter: elegant drawing-room comedies, but with dark undercurrents. In addressing taboos such as divorce, cocaine addiction, adulterous promiscuity and ménages à trois, these plays regularly incurred the displeasure of the theatre censors at the Lord Chamberlain's office. (The Oedipal overtones of his 1924 sensation The Vortex led one censor to comment, 'If we ban this, we shall have to ban Hamlet!'.) Coward's characters rarely express their true feelings, instead resorting to a sort of flippant sangfroid that subverts the wartime notion of the 'stiff upper lip'. The ornate epigrams of Wilde's day are replaced by a taut, slangy language derived from the telegram and the phone call, drawing on Coward's own distinctive clipped diction (developed to overcome a childhood stutter). Many such roles were performed – and defined – by Coward himself, who also took any opportunity to write his signature dressing gown into the script, much as the screenwriters of Bond films continually contrive to get their hero into black tie.
It is commonplace to say that Coward's flamboyant, suave persona was itself a mask of sorts. Born in mundane Teddington, he was a lowly suburbanite acting the part of a member of the aristocracy (quite literally the case for his role as captain of a destroyer in the film In Which We Serve (1942) – co-directed by Coward and David Lean – a performance that was explicitly modelled on Lord Mountbatten). All of this was undoubtedly a shrewd act of brand creation, an essential component of the art of celebrity. But, more importantly, it also reflects Coward's preoccupation with surface, his understanding that if one is to pursue the superficial then it is imperative to be glittering and elegant. Accordingly, art and style were integral to his work. 'Coward immediately began to appreciate the enormous impact that working with some of the finest artists and designers could have on his work, not just visually but theatrically and emotionally,' explains Rosenstein.
Although his reputation rests on words and music, Coward had taken a keen interest in the visual arts from an early age, and was an accomplished amateur painter. An early sketch of costume designs, drawn as a young teenager, depicts a rather camp Struwwelpeter-like figure in striped pantaloons – testament to his understanding of the power of fashion to reveal or create a character. As he was at the centre of a sparkling social set, Coward's stage shows were able to draw upon the talents of some of the most influential artists and designers of his time. For his costumes he turned to couturiers such as Victor Stiebel and Norman Hartnell, who trod a careful line between tasteful elegance and chic severity and whose clients were precisely the kind of moneyed ladies-about-town that Coward wrote about. Characters are frequently described in his scripts' stage directions as 'exquisitely dressed'. Moreover, the clothes worn in his revues and dramas not only reflected the latest modes: all too often they set them, too. Edward Molyneux's bias-cut satin gown for Gertrude Lawrence to wear in Private Lives was a slinky sensation, both on the fashion pages and the silver screen. ('It's hard to imagine a subsequent MGM film from the Thirties that doesn't feature a white satin dress à la Molyneux,' comments Rosenstein.) Coward's most frequent collaborator, Gladys Calthrop, a Slade-educated painter with a penchant for 'barbaric' jewellery, engendered a brief fad for Regency-inspired clothing and décor with her contemporary-inflected evocation of Georgian Brighton in the musical Conversation Piece (1934). Similarly, Doris Zinkeisen's costume designs for the number 'Teach Me to Dance Like Grandma' in This Year of Grace can be seen as an early permutation of retro chic, taking the silhouettes of the Victorian period and distilling their essence for the stage. Zinkeisen, too, was a professional painter, responsible for frescoes of jazz musicians aboard the RMS Queen Mary, and later became an official war artist. A self-portrait from 1929 reveals her as a society beauty, with marcel-waved hair and an elaborate Chinese silk shawl slipping from her bare shoulder.
Self-portrait (1929), Doris Zinkeisen. National Portrait Gallery, London; © Estate of Doris Zinkeisen
The Master himself was also something of a fashion influencer – reading the newspaper one day, he was surprised to be informed that his taste for coloured turtlenecks had set a minor trend. Cecil Beaton later observed that 'all sorts of men suddenly wanted to look like Noël Coward – sleek and satiny, clipped and well groomed, with a cigarette, a telephone or a cocktail at hand… Coward's influence spread even to the outposts of Rickmansworth and Poona.'
Set design by Cecil Beaton for Act I of Look After Lulu! (1959). © National Portrait Gallery, London
The catty undertone to those remarks was entirely typical. 'Beaton had an irrational hatred of Coward, prompted probably by jealousy at the latter's easy success at an early age,' explains Robin Muir, curator of last year's exhibition 'Cecil Beaton's Bright Young Things' at the National Portrait Gallery (which transfers to the Millennium Gallery in Sheffield this spring). 'He could also slightly see through the pose, as their backgrounds were broadly similar: both wanting to be something they weren't born to, both hiding their sexuality to a large extent too.' (In 1925, after watching a performance of Fallen Angels, Beaton said: 'I do think the play will help to ruin old Coward. It is quite definite that he won't live long.' Coward was 26 at the time.) After the Second World War, however, the pair met by chance on a sea cruise, and all hostilities dissipated. Beaton went on to collaborate with Coward on the sets and costumes for the Victorian-set comedy Quadrille (1952) and the stage farce Look After Lulu! (1959). His set designs for the latter are remarkable: they offer a highly stylised, almost parodic take on art nouveau in the manner of Victor Horta, with whiplash curves that dissolve into wispy tendrils at the edges. It is a room that nobody in 1908 – the year in which the play is set – would ever have inhabited, but which comically reimagines the style in its purest essence. A similarly heightened version of the past can be found in other Coward plays with a period setting; of particular note is William Nicholson's octagonal red room for his musical The Marquise in 1927 – for which he also designed costumes – which evokes the ostensible setting of ancien régime France but, like the dialogue, remains crisply modern in feel. 'The artists he worked with understood period,' notes Rosenstein, 'but relied more on Coward's tone to interpret and filter their theatrical evocations of past eras, while also stylishly embracing the present when called for.'
Costume design by William Nicholson for Esteban in Act III of The Marquise (1927). © Desmond Banks
With their contemporary settings, Coward's drawing-room comedies regularly exhibit an acute awareness of the dominant artistic trends. The title of The Vortex calls to mind Wyndham Lewis and his avant-garde Vorticists, a movement that also inspired Calthrop's zingy backdrops for the ballet 'Crescendo' in the revue On with the Dance the following year. Elsewhere, Design for Living (1932) is redolent of Le Corbusier's modernist maxim that 'a house is a machine for living in' and the stark architecture that went with it. The character of Otto, the Montmartre bohemian turned society portraitist, also demonstrates a passing familiarity with the tenets of cubism: 'I don't paint their faces, Gilda. Fourth dimensional, that's what I am. I paint their souls.' ('You'd have to be eighth dimensional and clairvoyant to find them,' comes the acerbic response.) Calthrop's set design for Gilda's Manhattan penthouse offers an approach to the moderne style that is, in its own way, as heightened as any of Coward's period settings. Dominated by the sweeping arc of a staircase with low, metal-frame armchairs, it has an austere chic that is closer to a cinema lobby or a West End nightclub than a home.
Noél Coward (far left), Ethel Borden, Alfred Lunt, Gladys Henson, Alan Campbell and Lynn Fontanne in the original Broadway production of Design for Living in 1953, with sets designed by Gladys Calthrop. Photo: Vandamm Studio; © The New York Public Library for the Performing Arts
Coward's own home, furnished by the fashionable decorator Syrie Maugham, was less overtly deco in tone. It brought together choice antique pieces, including a baroque carving by Grinling Gibbons and a 17th-century Winged Time allegory in Cornish tin, with a restrained modernist palette and some frightfully au courant abstract rugs. (It is possible that the loud geometry of these rugs inspired the lines 'You're weaving love into a mad jazz pattern… don't drop a stitch too soon,' from his 1925 song 'Poor Little Rich Girl'.) A suspiciously similar domestic set-up is visible in Calthrop's set designs for Present Laughter (1942), in which Coward portrayed Garry Essendine, an ageing thespian with a penchant for dressing gowns who is regularly accused of being unable to stop acting even when off-stage.
In a sense, what we now think of as art deco was more emblematic of its period than it was typical of it. That is to say, it was an aesthetic that found its fullest expression in artificial environments, such as ocean liners, hotels and stage musicals, all settings with which Coward was amply familiar; the idea that everything was suddenly all about clean lines and harsh martini-glass angles would not have been familiar to, say, the Jarrow Marchers. (Although Coward was obsessed with class, his portrayals of the lower orders in works such as Cavalcade and its spiritual heir, This Happy Breed [1939], are no less mannered than those of his other characters; the principal difference is that their speech is peppered with vocabulary such as and no mistake rather than terribly and divine.)
Deco's artificiality, the manner in which austere modernism is tempered with opulent chic, makes it an inherently Cowardian style. The same combination of artful restraint and surface luxury can be found in his dialogue, his characters' costumes and his public persona. It is the veneer that covers the hollow dread of the inter-war years – yet, the best part of a century on, it retains an irresistible glamour.
'Noël Coward: Art & Style' will run at the Guildhall Art Gallery, London; dates to be announced.
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How set designers and scene painters have beguiled audiences through the centuries
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Anti-Rumor Campaign in Bilbao: Fighting Fiction with Facts (and some fun) – Elżbieta M. Goździak, Ph.D.
I spent the month of May 2016 at the Deusto University in Bilbao, Spain teaching in the Erasmus Mundus Master's in International Migration and Social Cohesion (MISOCO) program. It was a delightful experience. While my students were learning from me about the U.S. refugee resettlement system, the challenges facing Central American children and adolescents fleeing violence and poverty in El Salvador, Guatemala, and Nicaragua, and debating the trend to medicalize human suffering, I was learning about international migration and immigrant integration in the Basque Country.
The foreign-born population in Spain hovers around 11%; only 2.1% of the 4.4 million immigrants reside in the Basque Country. The highest percentage of immigrants settled in the Basque Country come from Columbia (11.8%), Bolivia (9.7%), Romania (8.8%), followed by Morocco, Portugal and Ecuador (7.5% each). They are virtually invisible in the city center, however, in neighborhoods such as San Francisco immigrants—especially immigrants from Sub-Saharan Africa—constitute as much as 20% of the residents. Because of the presence of immigrants San Francisco gets a very bad rap. Some of the Spaniards I talked to—highly educated and well-travelled people—often mentioned that they would not venture into the neighborhood of San Francisco for the fear of the alleged crimes—drug-dealing, prostitution, and theft–propagated by immigrants. Popular tourist sites such as tripdvisor.com or virtualtourist.com feed these fears.
The onset of the economic crisis in 2008 further affected the negative attitudes towards immigrants as native workers faced many challenges in the Spanish labor market. Of course, immigrants faced the same challenges, but the perception that foreigners threaten the economic well-being of locals began to feed the rumor mill: the number of immigrants—especially from Africa and Roma from Romania—are on the rise; immigrants take away from Spaniards not only jobs, but are depleting the pool of money available for the basic minimum income scheme for the poor. In order to squash these rumors, Bilbao—following Barcelona—has launched a clever public service campaign to dispel misconceptions and the prejudices that many local people held about minorities and immigrants. The campaign dispatches the Anti-Rumor Network members to different neighborhoods, places where people gather informally, local civic centers, and the homes of their own family members to fight fiction with fact and a lot of humor.


Following the release of the ‰Û÷Can Vinyl Box‰۪ - the limited edition box set that consisted of 17 LPs housed in a linen wrapped box, Mute are now proud to release the Can studio albums individually on vinyl.
‰Û÷Future Days‰۪, ‰Û÷Soon Over Babaluma‰۪, ‰Û÷Landed‰۪, ‰Û÷Flow Motion‰۪ and ‰Û÷Saw Delight‰۪ are the second batch of the series, following ‰Û÷Monster Movie‰۪, ‰Û÷Soundtracks‰۪, ‰Û÷Tago Mago‰۪ and ‰Û÷Ege Bamyasi‰۪, released last month.
The albums were mastered and cut to vinyl by Kevin Metcalfe at The Soundmasters, London. The remastering and vinyl processing was coordinated by long time collaborator Jono Podmore. Additional titles will be released over the coming months.
‰Û÷Future Days‰۪ is the fifth studio album by Can. This is the last album to feature Japanese vocalist Damo Suzuki.
On ‰Û÷Future Days‰۪, the band explored the ambient direction they had introduced into their sound on the previous year‰۪s ‰Û÷Ege Bamyasi‰۪ creating a landmark in European electronic music.


Designed after over 8 years experience Wet Shaving and talking with hundreds of customers, this kit is made for those with coarse hair yet sensitive skin or prone to ingrowns. Available is a sampling of some of the finest Double Edge Safety Razor Blades made today, and because razor blades are like tennis shoes: it's hard to recommend any one brand to a shaver, instead it's much more effective to try a few and decide for yourself. We have selected a range of efficient but sharp blades.
Designed to give a great overall experience for those with sensitive skin, these blades vary from moderate to aggressive and should allow for smooth and efficient shaves!
Blades seem to be working quite well.
I have enjoyed trying out these different blades. I have used Feather blades for over the past two years and have recently started to see too many nicks on my sensitive face. This is a great way to try out different blades based on skin type. I have tried them all and have not had any nicks so far.
I ordered this sample pack two weeks a ago and have been shaving with one brand of blades on the left side of my face and the other brand on my right side of my face. These are all good blades and gave me a great shave with the vintage fat handle tech I also ordered. I have to say that the Astra green gave me the most comfortable non irritating shave with a three pass shave out of all the blades while the Pol Silver blades gave me the most closest shave with a two pass shave. I'm very Happy with my purchase at razor emporium and look forward to buying more stuff from these guys that know what there doing. Razor Emporium you guys ROCK!
I got these when I got my razor back from a tune up service. I am using the astra green currently on the 3 adjustment on my razor and I couldn't be happier. I am excited to test the other blades to see what type of shave I get. I will adjust my razor as needed. Thanks Razor emporium.
I love that Razor Emporium has put together a razor sampler pack specifically for my specific needs: a really tough beard and a very sensitive face. And they only put one pack of five razors of each type in this sampler package. So many sampler packs of razor blades just care about selling blades. RE shows care about my needs and sold me a very specific and limited pack. Ive only tried one of the new blades so far and am looking forward to trying out the rest. This pack will save me time and money trying razor blades that havnt been preselected to meet my needs. Thanks RE for the help.
My girlfriend and I both use DE razors. This is a great option when it's time to restock. There's a great variety. She prefers the sensitive skin ones. Me I have no preference and they work great on my neck and face. We always turn to this when more blades are needed.
I received a green 7 O'clock pack instead of Polsilver one.


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Q: Can I run an emulator without HAXM in Android Studio? In Eclipse I can run an emulator without HAXM but when I want to run the emulator without HAXM in Android Studio, I get an error intel haxm is required to run this avd
Can I run the emulator without HAXM in Android Studio for  a device not supporting it?
And how?
Update 1:

A: The Android emulator is independent from Android Studio and Eclipse.
HAXM is Intel's virtualization extension for Android Emulator on x86. You can use an emulator with the ARM image instead of HAXM provided that you installed it in the SDK manager.
Check your SDK manager to see if you have an ARM image instead for the API level you want,  then go to the AVD manager and make a virtual device using ARM as the cpu.

A: Check your processor if its is Arm.download system image for arm in sdk manager

A: For some processors, if you enable virtualization you should be able to run the android studio emulator without installing HAXM - for example on AMD you need to enable SVM mode


text:
package dev

import (
	"github.com/go-ble/ble"
	"github.com/go-ble/ble/linux"
)

// DefaultDevice ...
func DefaultDevice() (d ble.Device, err error) {
	return linux.NewDevice()
}


text:
2891 Woodstone Drive
Middleburg, FL 32068
lucindamosher@gmail.com
Enabling Interreligious Understanding
Faith in the Neighborhod Blog
Contact Lucinda
Lucinda Mosher
Book Chapters by Lucinda Mosher, Th.D.
"A Decade of Appreciative Conversation: The 'Building Bridges' Seminars Under Rowan Williams" in Death, Resurrection, and Human Destiny: Christian and Muslim Perspectives, David Marshall and Lucinda Mosher, editors (Georgetown University Press, 2014).
"Conversations in Doha" in The Community of Believers: Christian and Muslim Perspectives, Lucinda Mosher and David Marshall, editors (Berkley Center for Religion, Peace and World Affairs, forthcoming 2015).
"Conversations in Qatar" in Prayer: Christian and Muslim Perspectives, David Marshall and Lucinda Mosher, editors (Georgetown University Press, 2013).
"Renewing Our Pledge: The Episcopal Church's Engagement with Islam and Muslims," in Christian-Muslim Relations in the Lutheran and Anglican Communions: Historical Encounters and Contemporary Projects, edited by David Grafton, Joseph Duggan, and Jason Craige Harris (Palgrave, 2013).
"Lā Siyyamā: Nursi's Treatise on al-Hashr in Mathnawi al-Nuriye," in Theodicy and Justice in Islamic Thought: The Case of Said Nursi, edited by Ibrahim Abu-Rabi and Bilal Kuspinar (Ashgate, 2010).
"The Spirit of Worship and the Result of Sincere Belief: Nursi's Mathnawi al-'Arabi al-Nuri as a handbook for the contemplative life," in Spiritual Dimensions of Said Nursi's Risale-i-Nur, edited by Ibrahim Abu-Rabi' (SUNY Press, 2008).
"The University of Michigan-Dearborn Worldviews Seminar," co-authored with Claude F. Jacobs, Ph.D., in Teaching Religion and Healing, edited by Linda Barnes (Oxford University Press, 2006).
"The Marrow of Worship and the Moral Vision: Said Nursi and Supplication," in Islam at the Crossroad: On the Life and Thought of Bediuzzaman Said Nursi, edited by Ibrahim Abu-Rabi' (SUNY, 2003).


"What, on earth, have you been smoking lately?!" you may want to ask me. Well, if puzzle games are supposed to have easy controls (usually you just have to use the mouse and click or sometimes, the directional keys), not this one. The directional keys don't always work as they are supposed to!
Baffled? Let's check the elephant - this is where it all started. Take a closer look at that elephant - yes, that's a blue and small elephant. It doesn't look majestic, it doesn't look like its supposed to be, and it's NOT intelligent like the real thing! Aside from that, it doesn't do anything but totter - totter all day. It seems like this elephant is about to tip over because of the lack of genuine elephant characteristics! And here's something that makes it even baffling, it can jump. YES, this elephant can jump like a frog!
And here's what: the elephant has forgotten the levels of the game created by John Cooney (who also made Achievement Unlocked) except for one: the very first one. Heck! Elephants are known for its memory, and this one cannot remember the levels its starring in except for the same configuration of blocks and spikes. Welcome to the one of the most odd, puzzling, BUT fun filled puzzle games 'This Is The Only Level'. It has been awarded Best Of Casual Game Play back in 2009.
By the way, the whole game has a very simple...stupidly simple, premise: to hit that red switch, open the door that unblocks the exit, leap through the spikes, and pass through the exit. That's it...or at least, those are the only things the elephant can remember.
Well, it cannot even remember what the color of the level is! It's different each time you play. And this is the real puzzling and challenging part: it cannot remember what the controls are. You can try left for moving to the left, right to totter towards that direction, up for the elephant to jump. BUT get this: the elephant is so forgetful that you cannot bet that it will work all the time. It's all up for you to figure it out.
A purposeless elephant, which is blue and leaps...which is NOT really an elephant. You got to figure out how to control him, and that changes one stage after the other. If you are looking for puzzle games that take puzzling to the extreme, if you are looking for puzzle games that are so odd you can't help but laugh, then 'This Is The Only Level' is a game to check out. It won't disappoint.


Jimmy Lousich is a unique furniture design company creating beautifully hand crafted pieces of functional art for the home. Each piece is individually produced to order, offering a bespoke service for private individuals and interior designers.
Jimmy Lousich offers a variety of design approaches. Completely bespoke pieces, hand finished to the customers specifications, or a choice of one off pieces individually created by designer James Rogers from a series of pre designed frames, offering an "off the peg" service. Frames are sourced from the Internationally acclaimed Angelo Cappellinni company of Milan who have been manufacturing luxury furniture for over 150 years. Jimmy Lousich also produces re invented furniture using sourced antique pieces chosen by designer James Rogers or provided by the client.
The gallery shows examples of past projects. Some were specifically designed for individual clients, whilst others are from the "off the peg" range. Most pieces can be re produced, but due to their hand made nature, no two pieces are ever the same. This ensures that the client can be confident their piece is truly a one off and made for them.
The company, Jimmy Lousich was founded by designer James Rogers in 2010. Rogers, Having worked as a costumier for the film and television industry for 10 years, on projects such as "Troy", " Lion the Witch and the wardrobe" & "The Hobbit" , began designing furniture as a way of showcasing leatherwork techniques developed during his career as a costumier.
This began a love affair with furniture design that focused on the objects being works of art as well as functional pieces of furniture.
Originally from the UK, Rogers has lived and worked in several countries and cities around the world from New York to Marrakech, Fiji to Auckland NZ, which he now calls home. This has influenced his design aesthetic which showcases a fusion of decadent, quirky and colourful pieces imbued with a traditional and nostalgic edge. This fusion of styles creates a distinctive look that is relevant to a 21st century design aesthetic that is exciting and eclectic.
In 2012 Jimmy Lousich teamed up with Sarsfield Brooke, New Zealands pre eminent wholesalers of Luxury furniture. Works by Jimmy lousich can now be viewed and purchased from their showroom in Parnell, Auckland.
In conjunction with Sarsfield Brooke & Angelo Cappellini " The Fleur du Pearls "chair will be exhibited by Angelo Cappellini at the 2013 Salone Internazionale del Mobile in Milan.


text:
Tutorial Gateway
C Program to Perform Arithmetic Operations on Multi-Dimensional Arrays
by suresh
Write a C Program to Perform Arithmetic Operations on Multi-Dimensional Arrays with an example along with a detailed explanation.
This C program allows the user to enter the number of rows and columns of 2 Two dimensional array. Then, we are going to perform Arithmetic Operations such as Addition, Subtraction, Multiplication, and Division on Multi-Dimensional Arrays in C.
/* C Program to Perform Arithmetic Operations on Matrix */
int i, j, rows, columns, a[10][10], b[10][10];
int Addition[10][10], Subtraction[10][10], Multiplication[10][10], Module[10][10];
float Division[10][10];
printf("\nPlease Enter Number of rows and columns\n");
scanf("%d %d", &i, &j);
printf("\nPlease Enter the First Array Elements\n");
for(rows = 0; rows < i; rows++)
for(columns = 0;columns < j;columns++)
scanf("%d", &a[rows][columns]);
printf("\nPlease Enter the Second Array Elements\n");
scanf("%d", &b[rows][columns]);
Addition[rows][columns] = a[rows][columns] + b[rows][columns];
Subtraction[rows][columns] = a[rows][columns] - b[rows][columns];
Multiplication[rows][columns] = a[rows][columns] * b[rows][columns];
Division[rows][columns] = a[rows][columns] / b[rows][columns];
Module[rows][columns] = a[rows][columns] % b[rows][columns];
printf("\nAdd\t Sub\t Multi\t Div\t Mod");
for(columns = 0; columns < j; columns++)
printf("\n%d \t ", Addition[rows][columns]);
printf("%d \t ", Subtraction[rows][columns]);
printf("%d \t ", Multiplication[rows][columns]);
printf("%.2f \t ", Division[rows][columns]);
printf("%d \t ", Module[rows][columns]);
In this C Program to Perform Arithmetic Operations on Multi-Dimensional Arrays, the below for loop will help to iterate each cell present in a[2][3] matrix. Conditions inside the for loops ((rows < i) and (columns < j)) will ensure the compiler, not to exceed the matrix limit. Otherwise, the matrix will overflow.
The scanf statement inside the for loop will store the user entered values in every individual array element such as a[0][0], a[0][1], a[0][2], a[1][0], a[1][1], a[1][2]
for(rows = 0; rows < i; rows++).
Below for loop will help to iterate each cell present in the b[2][3] matrix.
In the next line of the C Program to Perform Arithmetic Operations on Multi-Dimensional Arrays, We have one more for loop.
The above For loop is to calculate the Addition, Subtraction, Multiplication, Division, and Module of 2 arrays.
From the above C Program to Perform Arithmetic Operations on Multi-Dimensional Arrays screenshot, the user inserted values are
a[2][3] = {{15, 25, 35}, { 45, 55, 65}} and
b[2][3] = {{10, 5, 20}, {30, 45, 30}}
Row First Iteration
The value of the row will be 0, and the condition (rows < 2) is True. So, it will enter into second for loop
Column First Iteration
The value of the column will be 0, and the condition (columns < 2) is True. So, it will start executing the statements inside the loop until the condition fails.
Addition [rows][columns] = a[rows][columns] + b[rows][columns];
Addition [0][0] = a[0][0] + b[0][0] => 15 + 10 = 25
Subtraction [rows][columns] = a[rows][columns] – b[rows][columns];
Subtraction [0][0] = 15 – 10 = 5
Multiplication [rows][columns] = a[rows][columns] * b[rows][columns];
Multiplication [0][0] = 15 * 10 = 150
Division [rows][columns] = a[rows][columns] / b[rows][columns];
Division [0][0] = 15 / 10 = 1
Module [rows][columns] = a[rows][columns] / b[rows][columns];
Module [0][0] = 15 % 10 = 5
Column Second Iteration
The value of the column will be 1, and the condition (columns < 3) is True. Since we didn't exit from the inner loop (Columns loop), Row value will be 0
Addition [0][1]= a[0][1] + b[0][1];
Addition [0][1]= 25 + 5 = 30
Subtraction [0][1] = 25 – 5 = 20
Multiplication [0][1] = 25 * 5 = 125
Division [0][1] = 25 / 5 = 5
Module [0][1] = 25 % 5 = 0
Column 3rd Iteration
The value of columns will be 2, and the condition (2 < 3) is True.
Addition [0][2] = a[0][2] + b[0][2];
Addition [0][2] = 35 + 20 = 55
Subtraction [0][2] = 35 – 20 = 15
Multiplication [0][2] =35 * 20 = 700
Module [0][2] = 25 % 5 = 15
After incrementing, the value of the columns will be 3, and the condition (3 < 3) will fail. So it will exit from the loop.
Now the value of the row will increment and starts the second row iteration
The value of the row will be 1, and the condition (1 < 2) is True. So, it will enter into second for loop
The value of the column will be 0, and the condition (columns < 3) is True.
Multiplication [1][0] = 45 * 30 = 1350
Module [1][0] = 45 % 30 = 15
column = 1, and the condition (columns < 3) is True. Since we still in the inner loop (Columns loop), Row value will be 1
Addition [1][1]= 55 + 45 = 100
Subtraction [1][1]= 55 – 45 = 10
Multiplication [[1][1]= 55 * 45 = 2475
Division [1][1]= 55 / 45 = 1
Module [1][1]= 55 % 45 = 10
columns = 2, and the condition (columns < 3) is True.
After the increment, the value of columns will be 3, and the condition (columns < 3) will fail. So it will exit from the loop.
Now the value of rows will increment. It means rows =2. Condition (2< 2) will fail. So, it will exit from the loop.
Next for loop will traverse as we explained above. However, instead of summing, it will display the values one by one using the printf statements inside them.
The final output of the Addition Array is:
Addition [2][3] = { {25, 30, 55}, {75, 100, 95} };
The final output of the Subtraction Array is:
Subtraction [2][3] = { {5, 20, 15}, {15, 10, 35} };
The final output of the Multiplication Array is:
Multiplication [2][3] = { {150, 125, 700}, {1350, 2475, 1950} };
The final output of the Division array is:
Division [2][3] = { {1.00, 5.00, 1.00,}, {1.00, 1.00, 2.00} };
The final output of the Module Array is:
Module [2][3] = { {5, 0, 15}, {15, 10, 5} };
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