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Vakhtang I Gorgasali (;  or 443 – 502 or 522), of the Chosroid dynasty, was a king of Iberia, natively known as Kartli (eastern Georgia) in the second half of the 5th and first quarter of the 6th century.

He led his people, in an ill-fated alliance with the Byzantine Empire, into a lengthy struggle against Sasanian Iranian hegemony, which ended in Vakhtang's defeat and weakening of the kingdom of Iberia. Tradition also ascribes him reorganization of the Georgian Orthodox Church and foundation of Tbilisi, Georgia's modern capital.

Dating Vakhtang's reign is problematic. Ivane Javakhishvili assigns to Vakhtang's rule the dates c. 449–502 while Cyril Toumanoff suggests the dates c. 447–522. Furthermore, Toumanoff identifies Vakhtang with the Iberian king Gurgenes known from Procopius' Wars of Justinian.

Vakhtang is a subject of the 8th or 11th century vita attributed to Juansher, which intertwines history and legend into an epic narrative, hyperbolizing Vakhtang's personality and biography. This literary work has been a primary source of Vakhtang's image as an example warrior-king and statesman, which has preserved in popular memory to this day.

He emerged as one of the most popular figures in Georgia's history already in the Middle Ages and has been canonized by the Georgian Orthodox Church as The Holy and Right-Believing King Vakhtang () and is commemorated on .

Name
According to the Life of Vakhtang Gorgasali, the king was given at his birth an Iranian name Varazkhosrovtang, rendered in Georgian as Vakhtang. The name may indeed be derived from Iranian *warx-tang (vahrka-tanū)—"wolf-bodied", a possible reflection of the wolf cult in ancient Georgia. Beginning in the late 13th century, numerous Georgian princes and kings took the name Vakhtang. Toumanoff observes that the name Vakhtang has no Classical equivalent and infers that the king's sobriquet Gorgasal—given to Vakhtang because of the shape of the helmet he wore—was rendered by the 6th-century Roman historian Procopius as Gurgenes (). Toumanoff's identification of Vakhtang with Gurgenes has not been universally accepted.

Early reign

Beyond the Life of Vakhtang Gorgasali (hereinafter LVG), the medieval Georgian sources mention Vakhtang only briefly, yet with respect rarely afforded to the pre-Bagratid Georgian monarchs. Notwithstanding its semi-legendary epic character, the LVG provides many important details, which can be combined with the sources closer to the period in question, such as Lazarus of Parpi and Procopius.

Vakhtang is reported by the LVG to have succeeded at the age of 7 his father King Mihrdat (V). His mother, a Christianized Persian Sagdukht, assumed regency in Vakhtang's minority. The author then describes the grave situation in which Iberia was at that time, troubled by the Sassanids' Zoroastrianizing efforts and a ravaging raid by the "Ossetians" from the north, this latter being a possible reference to the invasion by the Huns (which may have included Alans) through the Caspian Gates mentioned by Priscus. At the age of 16, Vakhtang is said to have led a victorious retaliatory war against the "Ossetians", winning a single combat against the enemy's giant and relieving his sister Mirandukht from captivity. At the age 19, Vakhtang married Balendukht, "daughter" of the Great King Hormizd (apparently Hormizd III, r. 457–459). Soon, upon the Great King's request, Vakhtang took part in the campaign in "India", probably in Peroz's abortive expedition against the Hephthalites in the 460s, and against the Roman Empire in 472, in which Vakhtang is reported to have gained control of Egrisi (Lazica) and Abkhazia.

Church affairs
Returning to Iberia, Vakhtang took up a series of measures aimed at strengthening the royal authority. Resenting Iranian encroachments on his independence, Vakhtang reversed his political orientation and effected a rapprochement with the Roman government. He married Helena, "daughter" (possibly relative) of Emperor Zeno, and received permission from Constantinople to elevate the head of the church of Iberia, the bishop of Mtskheta, to the rank of catholicos, whom he sent, together with twelve newly appointed bishops, to be consecrated at Antioch. These rearrangements did not pass smoothly and the king had to overcome opposition, especially in the person of Mikel, the deposed bishop of Mtskheta. Javakhishvili explains this conflict on account of doctrinal differences between the Monophysite Vakhtang and Diophysite Mikel, a presumption supported by Toumanoff, who points out, that the change of prelate and his subordination to Antioch could "only imply acceptance of Zeno's formulary of faith", i.e., the moderately Monophysite Henotikon of 482. On his part, another Georgian historian, Simon Janashia, argues that Vakhtang was inclined towards Diophysitism while Mikel adhered to Monophysitism.

War with Iran

By espousing pro-Roman policy, Vakhtang further alienated his nobles, who sought Iranian support against the king's encroachments on their autonomy. In 482, Vakhtang put to death his most influential vassal, Varsken, vitaxa of Gogarene, a convert to Zoroastrianism and a champion of Iran's influence in the Caucasus, who had executed his Christian wife, Shushanik, daughter of the Armenian Mamikonid prince Vardan II and a hero of the earliest surviving piece of Georgian literature. By this act, Vakhtang placed himself in open confrontation with his Iranian suzerain. Vakhtang called on the Armenian princes and the Huns for co-operation. After some hesitation, the Armenians under Vardan's nephew Vahan Mamikonian, joined forces with Vakhtang. The allies were routed and Iberia was ravaged by Iranian punitive expeditions in 483 and 484, forcing Vakhtang into flight to Roman-controlled Lazica (modern western Georgia). After Peroz's death in the war with the Hephthalites in 484, his successor Balash reestablished peace in the Caucasus. Vakhtang was able to resume his reign in Iberia, but did not betray his pro-Roman line.

Once the Hundred Years Peace between Iran and Rome collapsed, Kavadh I of the Sassanids summoned Vakhtang as a vassal to join in a new campaign against Rome. Vakhtang refused, provoking an Iranian invasion of his kingdom. Then about 60, he had to spend the last years of his life in war and exile, fruitlessly appealing for the Roman aid. The chronology of this period is confused, but by 518 an Iranian viceroy had been installed at the Iberian town of Tiflis, founded—according to Georgian tradition—by Vakhtang and designated as the country's future capital. According to the LVG, Vakhtang died fighting an Iranian invading army at the hands of his renegade slave who shot him through an armpit defect of his armor. The wounded king was transported to his castle at Ujarma where he died and was interred at the cathedral in Mtskheta. Javakhishvili puts Vakhtang's death at c. 502. If Toumanoff's identification of Procopius' Gurgenes with Vakhtang is true, the king might have ended his reign in 522 by taking refuge in Lazica, where he possibly died around the same time. Gurgenes' family members—Peranius, Pacurius, and Phazas—had careers in the Roman military.

Family
According to the LVG, Vakhtang was survived by three sons. Dachi, Vakhtang's eldest son by his first marriage to the Iranian princess Balendukht (who died at childbirth), succeeded him as king of Iberia and had to return to Iranian allegiance. Two younger sons by Vakhtang's second marriage to the Roman lady Elene—Leon and Mihrdat—were enfeoffed of the southwestern Iberian provinces of Klarjeti and Javakheti in which Leon's progeny—the Guaramids—traditionally followed pro-Roman orientation. Both these lines survived in Iberia into the 8th century, being succeeded by their energetic cousins of the Bagratid family. Toumanoff has inferred that the Samanazus, a name of the Iberian "king" found in John Malala's list of rulers contemporary with Justinian and reported by Theophanes the Confessor and Georgios Kedrenos to have visited Constantinople in 535, might have been a corruption of words meaning "brother of Dachi" and so perhaps refers to Mihrdat.

Will of Vakhtang
Before his death, the wounded King Vakhtang left the will to his son Dachi and to the Georgians:

He also called on Georgians not to abandon ties with the Byzantine Empire:

Legacy

Vakhtang entered a pantheon of Georgian historical heroes already in the Middle Ages. A royal oriflamme of the Georgian Bagratids was known as "Gorgasliani", i.e., "of Gorgasali". It is sometimes supposed to be the earliest model of the current Georgian national flag.
In popular memory, his image has acquired a legendary and romantic façade. Vakhtang is a subject of several folk poems and legends, extolling the king's perceived greatness, enormous physical strength, courage and devoutness to Christianity.

Vakhtang has been credited with the foundation of several towns, castles, and monasteries across Georgia, including the nation's capital Tbilisi, where a street and a square bear his name, and a 1967 monument by the sculptor Elguja Amashukeli tops the Metekhi cliff. A legend has it that when King Vakhtang was in the forest, his falcon chased a pheasant. The bird fell into a hot water spring and the king and his servants saw the steam come out of the water. Surprised by the abundance of hot water, Vakhtang gave orders to build a city on this site and named it "Tbilisi", that is, "the site of warm springs".

Vakhtang was officially included in the Georgian Orthodox calendar—and a church built in his honor in the city of Rustavi—early in the 1990s, but he had presumably been considered a saint long before that.

The Vakhtang Gorgasal Order, created in 1992, is one of the highest military decorations in Georgia.

References

Further reading

ჯუანშერი, "ცხოვრება ვახტანგ გორგასლისა/ქართლის ცხოვრება, ს. ყაუხჩიშვილის გამოც. ტ. I, თბილისი, 1955
ლ. ჯანაშია, ლაზარ ფარპეცის ცნობები საქართველო შესახებ, თბილისი, 1962
ლ. ჯანაშია, ქართლი V საუკუნის მეორე ნახევარში/ საქართველოს ისსტორიის ნარკვევები, ტ. II, თბილისი, 1973
ბ. ლომინაძე, საქართველოს მართლმადიდებელი ეკლესიის ადმინისტრაიული ორგანიზაცია V საუკუნეში, საქართველოს ფეოდალური ხანის ისტორიის საკითხები, VII, გამომცემლობა "ცოტნე"
ვ. გოილაძე, ვახტანგ გორგასალი და მისი ისტორიკოსი, თბილისი, 1991
ზ.ალექსიძე, ვახტანგ გორგასალსა და მიქაელ მთავაეპისკოპოსს შორის კონფლიქტის გამო/ ძიებანისაქართველოსა და კავკასიის ისტორიიდან, 1976
ნ. ლომოური, საქართველოსა და ბიზანტიის ურთიერთობა V საუკუნეში,1989, გვ. 52
ვ. მ. ლორთქიფანიძე, ქართლი V საუკუნის მეორ ნახევარში, თბილისი, 1979
Les plus anciens  homéliaires géorgiens, étude descriptive et historique par Michel van Esbroeck. Publication de l'institut orientaliste de Louvain, 10. Luvain-la-neuve, 1975

Chosroid kings of Iberia
Saints of Georgia (country)
Burials at Svetitskhoveli Cathedral
City founders
People of the Roman–Sasanian Wars
Rebellions against the Sasanian Empire
5th-century births
6th-century deaths
5th-century monarchs in Europe
6th-century monarchs in Europe
5th-century monarchs in Asia
6th-century monarchs in Asia
6th-century Christian saints
Vassal rulers of the Sasanian Empire
Christians in the Sasanian Empire
Sasanian generals
Georgians from the Sasanian Empire

Year of birth uncertain
Year of death uncertain

redpajama_set_name: RedPajamaWikipedia


Right Lane? Left Lane? Shawn Lane.
I read an interview once with Shawn Lane where he talked about how he did very little taping and that the majority of really fast playing that he was doing was one-note per string fingerings. It's a cool idea, and here's how I've adapted it to a C Blues/C Pentatonic Minor scale.
I'm using C minor as a key signature here – but the key signature doesn't show up in all the following notation. In every example below, all notated B's and E's are Bb and Eb respectively as seen in the tab.
I'm going to use the descending portion of the lick starting from Bb.
Now I'm going to move the Bb from the B string back to the high E string.
I'm using the 1st, 2nd and 4th fingers for the first three notes of the "After" section above.
If you hold the notes down, you'll loose definition on the individual notes because it'll sound like you're playing a chord. So make each note staccato by lifting the finger off each note after playing it. Try practicing just these 3 notes at first and work on getting the picking and the articulation down! Fingerstyle players can play the 3-string groupings as m-i-p (middle, index thumb).
I'm playing the C on the D string with the 3rd finger so the pinky can grab the F#/Gb on the G string for the Paul Gilbert repeated note idea in the second sextuplet.
I'm starting from Bb on the D string and moving the Eb from the 8th fret of the G string to the 13th fret of the D string. I've also taken the C from the 8th fret of the High E string and moved it to the 13th fret of the B string for a symmetrical shape. Finally I've added the D to get a nice "9th" sound on the sweep. (Check the video for a full explanation).
Here's something that isn't covered in the video. This lick starts on the b7, but you can adapt the idea to any scale degree. Moving down to the G, produces the following pattern. It's not really useful on the top 3 strings but the D, G, B shape is feasible.
Here it is from the b3rd.
You can try it from the tritone as well. The key thing is to find a shape that works for you, find a chord you like the sound of it over and monkey around with it until you get something you like out of it.


In what may be considered a sheer attempt to steal the thunder of the Google announcement of the new Android version and the Nexus devices, Apple 'accidentally' revealed its upcoming iPad devices.
The soon-to-be official iPad Air 2 and the iPad mini 3 tablets were accidentally revealed on an official user guide for iOS 8 in the iTunes store. Interestingly, the listing contains screenshots along with detailed info about both the tablets, killing all the fun of the upcoming launch. The devices seem to have the same old design with no refresh whatsoever.
The leaked user guide reveals that both the iPad Air 2 and the iPad mini 3 would sport a Touch ID fingerprint scanner. While there seems to be no change in the design, the device are said to have a slightly faster A8 processor. Obviously, the new iPads will run on the latest iOS 8.1 out of the box. We shall still wait for the official announcement.


Jerusalem (CNSNews.com) - Hamas television broadcast a video dramatization on Wednesday in which the four-year-old daughter of female suicide bomber vows to do what her mother has done. The child is an actress, but the point was clear.
According to Palestinian Media Watch, the child actress, playing the part of a real child named Duha, finds her mother preparing explosives in her bedroom and sings, "Mommy, what are you carrying in your arms instead of me?"
The mother tries to hide the bomb. Later, Duha sees a television news story about her mother's suicide bomb attack. "Instead of me, you carried a bomb in your hand," Duha sings. "Only now, I know what was more precious than us."
Duha asks her mother to tell the Muslim prophet Mohammed that she sends her love -- and that she will be following in Mommy's footsteps. The last image shows Duha finding explosives in her mother's bedroom drawer.
The video is based on real people. Duha's mother was Reem Riyashi, who, at the age of 21, blew herself up at the Erez crossing, killing four Israelis. Hamas and the Al Aksa Martyrs Brigades of the Fatah faction claimed responsibility for the 2004 attack.
Palestinian Media Watch Director Itamar Marcus told Cybercast News Service that there have been other programs where young teens express their desire to become martyrs, but he has never seen a child as young as the actress playing Duha serve as an advocate for suicide bombing.
"This is Hamas' ideology," said Marcus. Reem Riyashi was said to be the first female suicide bomber employed by Hamas.
After she killed herself and others, Sheikh Ahmad Yassin, the spiritual leader of Hamas, praised her for setting an example for other women to die in the fight against Israel.
In an unrelated story on the same topic, Iraqi police said on Wednesday that two children were used as decoys to help a bomb-laden car make it through a U.S. checkpoint in northern Iraq.
Both children died when the car blew up. According to press reports, the driver of the car was allowed to park in a busy shopping area after he made it clear that he was leaving his kids in the back seat.
"Children in the back seat lowered suspicion," Major General Michael Barbero was quoted as saying. "We let it move through. They parked the vehicle. The adults run out and detonate it with the children in the back."


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The Surface Water and Ocean Topography (SWOT) mission will provide an unprecedented view of the global ocean, mapping out two parallel 50-km-wide swaths of sea surface topography with 2-km pixel spacing every 20 days (e.g. Fu et al., 2012; Peral, 2014). Because of the novelty of its measurements, SWOT will introduce new challenges for data retrieval and interpretation.
SWOT challenges will be especially acute for the smallest length scales that SWOT resolves for three reasons. First, ocean structures typically have red sea surface height (SSH) spectra, meaning that the smallest scales in the ocean have the smallest signatures and therefore are hardest to detect and interpret. Second, small spatial scales typically correspond to rapid temporal motions, that will evolve significantly between consecutive passes of SWOT, thus necessitating a dynamical framework to interpret the time-evolving satellite fields. Third, the small scales will be entirely new (e.g. Arbic et al., 2015; Klein et al., 2015); current gridded altimeter products from AVISO are smoothed in time and space to capture variability on scales of O(100 km) (e.g. Le Traon and Dibarboure, 2004; Dibarboure et al., 2011), and even along-track products retain little structure for scales less than 20 to 30 km, so we do not have an existing suite of measurements to tell us what physical processes will govern oceanic behavior at these small scales. Recent results indicate that at the smallest scales that SWOT measures, geostrophic dynamic height may have less impact on sea surface height signal than surface waves, tides, and internal waves (e.g. Wang et al., 2010; Callies and Ferrari, 2013; Rocha et al., 2016a,b).
The objective of our research in support of SWOT is to develop 4-dimensional variational assimilation (4d-var) methods that include both quasi-geostrophic and tidal motions in order to build the capabilities to map, evaluate, and interpret SWOT observations, with a specific focus on the California Current region, which has been identified as one of the target regions for calibration and validation of SWOT (Wang et al., 2016). Our aim is to distinguish balanced, geostrophic motions from the myriad other processes that influence SSH variability at the ocean surface.
Figure 1: The color map shows a snapshot for 16 April 2012 of the surface speed from the California Current System State Estimate (CASE). The dots mark the locations of the NDBC buoys (black filled), and the CDIP buoys (white filled). The potential calibration and validation site for SWOT is marked as a red diamond, and nadir calibration and validation orbit ground track of SWOT is in the dashed line gray.
The California Current System is one of the most well-sampled regions of the ocean, with a multi-decade record of observations and present-day monitoring from multiple observational platforms, including high-frequency (HF) radars, gliders, wave–buoys, remote sensing satellites, and ocean moorings. Taking advantage of the wealth of observations in this region, a state estimate of the California Current System (CASE, Todd et al., 2011, 2012; Mazloff et al., 2014) was developed as a regional configuration of the Estimating the Circulation and Climate of the Ocean (ECCO) assimilation version of the MITgcm (http://www.eccogroup. org; Wunsch and Heimbach, 2013), providing an efficient way to synthesize ocean observations from multiple data sources. The CASE domain extends from 27.2°N to 40°N and from the California coast to 130°W (Figure 1), with open boundary conditions to the south, west, and north. In its current configuration, the model has 72 vertical levels and a horizontal resolution of 1/16° (~7 km), with 250 m, 500 m, and 1 km grids available in a nested domain centered on the Santa Barbara Channel region.
Tidally-generated variability is expected to be a significant component within the SWOT signal. In principle, barotropic tides are repeatable and can be removed from the SWOT data in much the same way that tidal signals have been removed from nadir altimeter data. However, predictable barotropic tidal motions may not account for much of the high wavenumber variability seen by SWOT. Instead tides generate internal wave motions that scatter over a broad range of frequencies and wavenumbers (e.g. Simmons et al., 2004).
In previous work, we tested the inclusion of tides in our forward simulations both at mesoscale resolutions (Ponte and Cornuelle, 2013) and in a nested model that resolves scales of just a few meters (Musgrave et al., 2015). We are now incorporating altimeter-based tides into the CASE state estimate setup, using the TPXO framework (http://volkov.oce.orst.edu/tides). We have 250-m, 500-m, and 1-km grids configured, and we have run the 1-km case for 2 years. Temperature, salinity, and velocity fields look reasonable, and we are in the process of validating the tides (Figure 2). Super computer resources appear adequate for the runs that we anticipate: the 1 km Santa Barbara Channel model runs on just 32 cores, and the 250 m version will use 500 cores.
Internal waves are generated when sufficient vertical resolution is available for tidal energy to propagate vertically (e.g. Rocha et al., 2016a). By using 72 levels in the vertical in the relatively shallow waters of the California Current, the MITgcm should be able to support a relatively energetic internal wave spectrum.
A second innovation in our state estimation effort is the inclusion of surface waves, which are crucial for the dynamics of the upper ocean, not only because they determine the sea state, but also because they mediate exchanges of momentum, heat, energy, and gases between the ocean and the atmosphere. Understanding the physics of processes that control air-sea exchanges will lay the groundwork for incorporating their effects into model parametrizations, leading to better climate model representativeness and predictions. In this context, we have been investigating (i) how surface currents modulate the wave field at meso and submesoscales (e.g. Ardhuin et al., 2017), and (ii) how surface waves contribute to vertical mixing in the upper ocean.
Even though individual waves will not be detected with SWOT's 2-km resolution over the ocean, SWOT retrievals of SSH will be influenced by waves in analogy with the sea state bias (SSB) experienced by nadir altimeters (Fu and Glazman, 1991; Peral et al., 2015). In nadir altimetry, the SSB is generally decomposed into instrumental error and electromagnetic (EM) bias, both associated with the fact that the distribution of wave heights in the ocean is not exactly Gaussian (Fu and Glazman, 1991; Melville et al., 1991). While the instrumental error is attributed to the design of the altimeter itself, the EM bias is intrinsic to the way that the radar pulse interacts with the sea surface; the accuracy of SSH measurements from altimetry is directly limited by the effect of surface waves.
Theoretical models of the EM bias predict a linear relationship between the EM bias and the significant wave height; however, other characteristics of the sea state, such as the degree of wave development (wave age), the wind speed, and the direction of the waves with respect to the satellite boresight, also contribute to the EM bias. Thus, as satellite altimeters evolve to resolving finer scales, precise knowledge of the wave field will be key to understanding how surface waves may contribute to the error budget of SSH measurements.
Figure 2: Time series of the model output and the pressure gauge sensor at Harvest.
A realistic representation of the wave field in the California Current will provide a tool to complement the error budget analysis of Peral et al. (2015), and it will help in interpreting the SSH signal measured by SWOT. Remote sensing satellites are currently the only way to monitor significant wave height at global scales. As altimeters become capable of resolving smaller scales, the interpretation of the sea state bias might have to be revisited in order to continue improving wave products. High-resolution output from wave models, used in tandem with satellite observations, will provide an essential tool for this type of investigation.
Our work to date has focused on laying the groundwork for assimilation of the full SWOT signal, with a particular focus on the intensive observing period carried out in the Santa Barbara Channel region of the California Current in September, 2016 as part of an Office of Naval Research Multidisciplinary University Research Initiative on passive acoustics. As an example, tests with the TPXO tidal model incorporated into CASE show good agreement between pressure gauge observations and model time series of SSH at Harvest (Figure 2) and other locations, with amplitudes for the M2, S2, N2, K1, O1, and Q1 tidal components typically differing by less than ±10%.
As a preliminary to coupling CASE to the wave model, we have assessed the wave climatology in the California Current region. Results show that the significant wave height at the potential calibration/validation site off the California coast is above the 2 m threshold specified for the projected SWOT performance over 60% of the time (Figure 3); however, this value can be as low as 25% in August.
Figure 3: Average percentage of days per month for which the significant wave height at the SWOT calibration/validation site (red diamond, Figure 1) is above a given threshold.
To summarize, our model development work is incorporating tide and wave modeling capabilities into the California Current State Estimate, CASE. This will provide a structure to evaluate the small-scale, unbalanced or ageostrophic motions that are likely to be significant contributors to the SWOT signal. It will also develop the infrastructure to eventually constrain the state estimate with the high spatial-resolution SWOT observations.
Arbic, B.K., F. Lyard, A. Ponte, R. Ray, J. G. Richman, J.F. Shriver, E. Zaron, and Z. Zhao, 2015: Tides and the SWOT mission: Transition from science definition team to science team. Tech. rep., CNES-NASA, http://swot.jpl.nasa.gov/science/whitepapers/. White Paper.
Ardhuin, F., S.T. Gille, D. Menemenlis, C.B. Rocha, N. Rascle, B. Chapron, J. Gula, and J. Molemaker, 2017: Small-scale open ocean currents have large effects on wind wave heights. Journal of Geophysical Research: Oceans, n/a–n/a, doi:10.1002/2016JC012413.
Callies, J. and R. Ferrari, 2013: Interpreting energy and tracer spectra of upper-ocean turbulence in the submesoscale range (1–200 km). J. Phys. Oceanogr., 43, 2456–2474.
Dibarboure, G., M.-I. Pujol, F. Briol, P.-Y. Le Traon, G. Larnicol, N. Picot, F. Mertz, and M. Ablain, 2011: Jason-2 in DUACS: Updated system description, first tandem results and impact on processing and products. Mar. Geodesy, 34, 214–241.
Fu, L.-L., D. Alsdorf, R. Morrow, E. Rodríguez, and N. Mognard, (Eds.) , 2012: The Surface Water and Ocean Topography (SWOT) Mission: Wide-Swath Altimetric Measurement of Water Elevation on Earth. Jet Propulsion Laboratory, JPL Publication 12-05, http://swot.jpl.nasa.gov/files/SWOT MSD final-3-26-12.pdf.
Fu, L.-L. and R. Glazman, 1991: The effect of the degree of wave development on the sea state bias in radar altimetry measurement. Journal of Geophysical Research: Oceans, 96 (C1), 829–834.
Klein, P., et al., 2015: Mesoscale/submesoscale dynamics in the upper ocean. Tech. rep., CNES-NASA, http://swot.jpl.nasa.gov/science/whitepapers/. White Paper.
Le Traon, P.-Y. and G. Dibarboure, 2004: An illustration of the contribution of the TOPEX/Poseidon–Jason-1 tandem mission to mesoscale variability studies. Mar. Geodesy, 27, 3–13.
Mazloff, M. R., S.T. Gille, and B.D. Cornuelle, 2014: Improving the geoid: combining altimetry and mean dynamic topography in the California Coastal Ocean. Geophys. Res. Lett., 41, 8944–8952.
Melville, W., R. Stewart, W. Keller, J.A. Kong, D. Arnold, A. Jessup, M. Loewen, and A. Slinn, 1991: Measurements of electromagnetic bias in radar altimetry. Journal of Geophysical Research: Oceans, 96 (C3), 4915–4924.
Musgrave, R.C., J.A. MacKinnon, R. Pinkel, J.D. Nash, and A.F. Waterhouse, 2015: The influence of three-dimensionality and sub-inertial trapped internal tides on near-ridge turbulence at the Mendocino Ridge. J. Fluid Mech., to be submitted.
Peral, E., 2014: KaRIn: Ka-band radar interferometer on board processor (OBP) algorithm theoretical basis document (ATBD). Tech. Rep. D-79130, JPL KaRIn OBP ATBD v2a.docx, Jet Propulsion Laboratory.
Peral, E., E. Rodríguez, and D. Esteban-Fernández, 2015: Impact of surface waves on swot's projected ocean accuracy. Remote Sensing, 7 (11), 14 509–14 529.
Ponte, A.L. and B.D. Cornuelle, 2013: Coastal numerical modelling of tides: Sensitivity to domain size and remotely generated internal tide. Ocean Modelling, 62, 17–26.
Rocha, C.B., T.K. Chereskin, S.T. Gille, and D. Menemenlis, 2016a: Mesoscale to submesoscale wavenumber spectra in Drake Passage. J. Phys. Oceanogr., 46, 601–620.
Rocha, C.B., S.T. Gille, T.K. Chereskin, and D. Menemenlis, 2016b: Seasonality of submesoscale dynamics in the Kuroshio Extension. Geophysical Research Letters, 43 (21), 11,304–11,311, doi:10.1002/2016GL071349.
Simmons, H.L., S.W. Venayagamoorthy, and B.K. Arbic, 2004: Internal wave generation in a global baroclinic tide model. Deep-Sea Res. II: Topical Studies Oceanogr., 51, 3043–3068.
Todd, R.E., D.L. Rudnick, M.R. Mazloff, B.D. Cornuelle, and R.E. Davis, 2012: Thermohaline structure in the California Current System: Observations and modeling of spice variance. Journal of Geophysical Research: Oceans, 117 (C2).
Todd, R.E., D.L. Rudnick, M.R. Mazloff, R.E. Davis, and B.D. Cornuelle, 2011: Poleward flows in the southern California Current System: Glider observations and numerical simulation. Journal of Geophysical Research: Oceans, 116 (C2).
Wang, D.-P., C.N. Flagg, K. Donohue, and H.T. Rossby, 2010: Wavenumber spectrum in the Gulf Stream from shipboard ADCP observations and comparison with altimetry measurements. J. Phys. Oceanogr., 40, 840–844.
Wang, J., L.-L. Fu, B. Qiu, T. Farrar, and D. Menemenlis, 2016: An observing system simulation experiment (OSSE) on the design of an in-situ observing system for the CalVal of SWOT SSH measurement.
Wunsch, C. and P. Heimbach, 2013: Chapter 21 - dynamically and kinematically consistent global ocean circulation and ice state estimates. Ocean Circulation and Climate A 21st Century Perspective, G. Siedler, S. M. Griffies, J. Gould, and J. A. Church, Eds., Academic Press, International Geophysics, 553 – 579, doi:10.1016/B978-0-12-391851-2.00021-0.


text:
About House of Voltaire
Studio Voltaire
House of Voltaire
Bag (0)Menu
Nicolas Party
100% lambswool blanket
Lambswool blanket
*Please note, stock is limited, please contact us if you require multiple blankets or by a certain date*
If you have a question about this piece of work, please get in touch.
Swiss-born artist Nicolas Party works across a wide range of different media. Primarily known for his colour-saturated paintings and murals, he also makes painted sculptures, pastels, installations, prints and drawings, and works as a curator. Party often paints portraits and still lifes of everyday objects, which he strips of all extraneous detail. Rather than creating faithful depictions from nature, he uses these seemingly innocuous subjects as springboards for an exploration into the art of painting itself.
In this new work, Party has explored his painterly precision, vibrant colour palette and a keen eye for composition for his first ever blanket edition, continuing a long standing art-historical dialogue between representation and abstraction, and observation and the imagination.
Each blanket is made on a hand-loom by master Scottish craftspeople with a rich heritage of knitwear and textile production using natural materials. The double-sided knitting style achieves a design rich finish. The front face of the blanket showcases the artist's work, whilst a birdseye pattern driven by the knitting style, is achieved on the underside. Each blanket has a noticeably soft handle and luxurious feel.
All our artist's blankets are machine washable.
Nicholas Party (b.1980) lives and works in New York. Solo exhibitions include Pastel, FLAG Art Foundation, New York (2019); Nicolas Party at Marble House, Marble House, Newport, RI (2019), Arches, M WOODS, Beijing (2018-2019); Magritte Parti, Magritte Museum, Brussels (2018); Sunrise, Sunset, Hirshhorn Museum and Sculpture Garden, Washington DC (2017); Hammer Projects: Nicolas Party, Hammer Museum, Los Angeles (2016); Pathway, Dallas Museum of Art, Dallas (2016); Cimaise, CAN: Centre d'art Neuchâtel, Neuchâtel (2016); Boys and Pastel, Inverleith House, Edinburgh (2015). Party participated in the New Work Scotland Programme residency at Studio Voltaire in 2011. Party begins with objects that are familiar to us in our daily lives and reworks them in a way that heightens or exaggerates their presence. Coffee pots, cups, cutlery, geometric shapes, plants and portraits – both human and animal – often appear in his work, which includes painting, drawing, sculpture, printmaking and curatorial projects. Party's background as a graffiti artist gives his art both a particular sense of modern design culture and an ability to effortlessly manipulate scale and context.
Party is represented by The Modern Institute, Glasgow, Gregor Staiger, Zurich, Xavier Hufkens, Brussel and Kaufman Repetto, Milan.
100% Cashmere Blanket
Ella Kruglyanskaya
Marc Camille Chaimowicz
Studio Voltaire has been supporting artists for over twenty years, through our renowned programme of exhibitions, performances, events and education projects as well as providing affordable studios.
We have gained a reputation for championing both emerging and underrepresented artistic practices, often at key stage in the artist's career. These have included Marvin Gaye Chetwynd, Phyllida Barlow, Ruth Ewan, Elizabeth Price, Jo Spence, Joanne Tatham & Tom O'Sullivan, Richard Slee and Cathy Wilkes.
The gallery also provides an important UK platform for international artists, often providing them their first-ever presentation in the UK. These have included Nairy Baghramian, Thea Djordjadze, Nicole Eisenman, Judith Hopf, Paulina Olowska and Henrik Olesen.
1A Nelson's Row
London SW4 7JR
info@studiovoltaire.org
Copyright Studio Voltaire
Registered Charity No: 1082221 | Registered Company No:3426509

redpajama_set_name: RedPajamaCommonCrawl


text:
//
//  TTZPlayer.m
//  player
//
//  Created by Jay on 2018/3/26.
//  Copyright © 2018年 Jay. All rights reserved.
//

#import "TTZPlayer.h"
#import <AliyunPlayerSDK/AlivcMediaPlayer.h>

static TTZPlayer *instance = nil;

@interface TTZPlayer()
@property (nonatomic, strong) AliVcMediaPlayer *mediaPlayer;
@property (nonatomic, strong) UIView *contentView;

@end

@implementation TTZPlayer
+ (instancetype)sharedInstance{
    static dispatch_once_t onceToken;
    dispatch_once(&onceToken, ^{
        instance = [[self alloc] init];
    });
    return instance;
}
+ (instancetype)allocWithZone:(struct _NSZone *)zone{
    static dispatch_once_t onceToken;
    dispatch_once(&onceToken, ^{
        instance = [super allocWithZone:zone];
    });
    return instance;
}

#pragma mark  开始播放
- (void)playWithModel:(id<TTZPlayerModel>)model{

    self.model = model;
    //prepareToPlay:此方法传入的参数是NSURL类型.
    [self.mediaPlayer prepareToPlay:[NSURL URLWithString:model.url]];
    //开始播放
    [self play];
}

- (void)play
{
    [self.mediaPlayer play];
}

- (void)stop{
    [self.mediaPlayer stop];
}

- (void)pause
{
    [self.mediaPlayer pause];
}

- (BOOL)isPlaying
{
    return self.mediaPlayer.isPlaying;
}

#pragma mark  -  get/set 方法
- (AliVcMediaPlayer *)mediaPlayer{
    if (!_mediaPlayer) {
        //创建播放器
        _mediaPlayer = [[AliVcMediaPlayer alloc] init];
        //创建播放器视图,其中contentView为UIView实例,自己根据业务需求创建一个视图即可
        /*self.mediaPlayer:NSObject类型,需要UIView来展示播放界面。
         self.contentView:承载mediaPlayer图像的UIView类。
         self.contentView = [[UIView alloc] init];
         [self.view addSubview:self.contentView];
         */
        self.contentView = [[UIView alloc] init];

        [_mediaPlayer create:self.contentView];
        //设置播放类型,0为点播、1为直播,默认使用自动
        _mediaPlayer.mediaType = MediaType_AUTO;
        //设置超时时间,单位为毫秒
        _mediaPlayer.timeout = 25000;
        //缓冲区超过设置值时开始丢帧,单位为毫秒。直播时设置,点播设置无效。范围:500~100000
        _mediaPlayer.dropBufferDuration = 8000;

        [self addNotification];
    }
    return _mediaPlayer;
}

- (void)addNotification{
    //一、播放器初始化视频文件完成通知,调用prepareToPlay函数,会发送该通知,代表视频文件已经准备完成,此时可以在这个通知中获取到视频的相关信息,如视频分辨率,视频时长等
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(OnVideoPrepared:)
                                                 name:AliVcMediaPlayerLoadDidPreparedNotification object:self.mediaPlayer];
    //二、播放完成通知。视频正常播放完成时触发。
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(OnVideoFinish:)
                                                 name:AliVcMediaPlayerPlaybackDidFinishNotification object:self.mediaPlayer];
    //三、播放器播放失败发送该通知,并在该通知中可以获取到错误码。
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(OnVideoError:)
                                                 name:AliVcMediaPlayerPlaybackErrorNotification object:self.mediaPlayer];
    //四、播放器Seek完成后发送该通知。
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(OnSeekDone:)
                                                 name:AliVcMediaPlayerSeekingDidFinishNotification object:self.mediaPlayer];
    //五、播放器开始缓冲视频时发送该通知,当播放网络文件时,网络状态不佳或者调用seekTo时,此通知告诉用户网络下载数据已经开始缓冲。
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(OnStartCache:)
                                                 name:AliVcMediaPlayerStartCachingNotification object:self.mediaPlayer];
    //六、播放器结束缓冲视频时发送该通知,当数据已经缓冲完,告诉用户已经缓冲结束,来更新相关UI显示。
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(OnEndCache:)
                                                 name:AliVcMediaPlayerEndCachingNotification object:self.mediaPlayer];
    //七、播放器主动调用Stop功能时触发。
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(onVideoStop:)
                                                 name:AliVcMediaPlayerPlaybackStopNotification object:self.mediaPlayer];
    //八、播放器状态首帧显示后发送的通知。
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(onVideoFirstFrame:)
                                                 name:AliVcMediaPlayerFirstFrameNotification object:self.mediaPlayer];
    //九、播放器开启循环播放功能,开始循环播放时发送的通知。
    [[NSNotificationCenter defaultCenter] addObserver:self
                                             selector:@selector(onCircleStart:)
                                                 name:AliVcMediaPlayerCircleStartNotification object:self.mediaPlayer];

}

#pragma mark  - 获取到视频的相关信息
- (void)OnVideoPrepared:(NSNotification *)noti{
    NSLog(@"%s--获取到视频的相关信息", __func__);
}

#pragma mark  - 视频正常播放完成
- (void)OnVideoFinish:(NSNotification *)noti{
    NSLog(@"%s--视频正常播放完成", __func__);
}

#pragma mark  - 播放器播放失败
- (void)OnVideoError:(NSNotification *)noti{
    NSLog(@"%s--播放器播放失败", __func__);
}

#pragma mark  - 播放器Seek完成后
- (void)OnSeekDone:(NSNotification *)noti{
    NSLog(@"%s--播放器Seek完成后", __func__);
}

#pragma mark  - 播放器开始缓冲视频时
- (void)OnStartCache:(NSNotification *)noti{
    NSLog(@"%s--播放器开始缓冲视频时", __func__);
    !(_playerLoading)? : _playerLoading();

}

#pragma mark  - 播放器结束缓冲视频
- (void)OnEndCache:(NSNotification *)noti{
    NSLog(@"%s--播放器结束缓冲视频", __func__);
    !(_playerCompletion)? : _playerCompletion();

}

#pragma mark  - 播放器主动调用Stop功能
- (void)onVideoStop:(NSNotification *)noti{
    NSLog(@"%s--播放器主动调用Stop功能", __func__);
}

#pragma mark  - 播放器状态首帧显示
- (void)onVideoFirstFrame:(NSNotification *)noti{
    NSLog(@"%s--播放器状态首帧显示", __func__);
}

#pragma mark  - 播放器开启循环播放
- (void)onCircleStart:(NSNotification *)noti{
    NSLog(@"%s--播放器开启循环播放", __func__);
}

@end

redpajama_set_name: RedPajamaGithub


This test is also offered via our exome backbone with CNV detection (click here). The exome-based test may be higher priced, but permits reflex to the entire exome or to any other set of clinically relevant genes.
The great majority of tests are completed within 20 days.
Analytical sensitivity should be high because the majority of mutations reported are readily detectable by gene sequencing. Clinical sensitivity is low because HBOC has multiple underlying causes including environment and genetics, and BARD1 mutations have only been reported in a minority of cases. (De Brakeleer et al. Hum Mutat 31(3):E1175, 2010). Large duplications/deletions have been infrequently reported.
Hereditary breast and ovarian cancer (HBOC) (OMIM 114480) are tumors located in the breast and ovary that show familial inheritance. Approximately 5-10% of breast and ovarian cancer cases are the result of genetic predisposition due to gene specific mutations. Tumors tend to occur at an earlier age (i.e. < 50 years) and occur bilaterally; males with breast cancer should also be tested for germline breast cancer mutations. There is also a higher predisposition of HBOC in specific ethnicities, such as the Ashkenazi Jewish population (Petrucelli et al. GeneReviews. 2011). Early detection of germline mutations in HBOC can be used for prophylactic mastectomy and/or oophorectomy which may reduce the morbidity and mortality of these conditions.
Hereditary breast and ovarian cancers (HBOCs) are mainly caused by mutations in the BRCA1 and BRCA2 genes (Miki et al. Science 266:66-71, 1994; Wooster et al. Nature 378:789-792, 1995), which are tumor suppressors that are involved in cellular proliferation and DNA repair. BRCA1-ASSOCIATED RING DOMAIN 1 (BARD1, OMIM 601593), also a tumor suppressor, is involved in the development of hereditary breast and ovarian cancer in a minority of cases. The BARD1 protein interacts with both BRCA1 and BRCA2 proteins. BARD1 aids in BRCA1 stability, nuclear localization and E3 ubiquitin ligase function (Irminger-Finger. Gynecologic Oncology 117:211-215, 2010). HBOC is inherited in an autosomal dominant manner and presents with incomplete penetrance. The most prominent mutations in BARD1 are missense mutations and infrequently nonsense, splice site, small insertions and deletions, and large deletions (Human Gene Mutation Database).
This test provides full coverage of all coding exons of the BARD1 gene, plus ~10 bases of flanking noncoding DNA. We define full coverage as >20X NGS reads or Sanger sequencing.
Individuals with a clinical presentation or family of Hereditary Breast and Ovarian Cancer and have tested negative for BRCA1 and BRCA2 gene mutations. Males with breast cancer, and individuals with an Ashkenazi descent with a concern for HBOC should also be tested. Earlier detection of clinical abnormalities may lead to earlier treatment and better outcomes. Similar to BRCA mutation testing, this is a predictive test and provides only information regarding the likelihood of breast and/or ovarian cancer. This test is specifically designed for heritable germline mutations and is not appropriate for the detection of somatic mutations in tumor tissue.
Petrucelli et al. GeneReviews. 2011.
We use a combination of Next Generation Sequencing (NGS) and Sanger sequencing technologies to cover the full coding regions of the listed genes plus ~10 bases of non-coding DNA flanking each exon. As required, genomic DNA is extracted from the patient specimen. For NGS, patient DNA corresponding to these regions is captured using an optimized set of DNA hybridization probes. Captured DNA is sequenced using Illumina's Reversible Dye Terminator (RDT) platform (Illumina, San Diego, CA, USA). Regions with insufficient coverage by NGS are covered by Sanger sequencing.
Patient DNA sequence is aligned to the genomic reference sequence for the indicated gene region(s). All differences from the reference sequences (sequence variants) are assigned to one of five interpretation categories, listed below, per ACMG Guidelines (Richards et al. 2015).
Human Genome Variation Society (HGVS) recommendations are used to describe sequence variants (http://www.hgvs.org). Rare variants and undocumented variants are nearly always classified as likely benign if there is no indication that they alter protein sequence or disrupt splicing.
Copy number variants (CNVs) such as deletions and duplications are detected from next generation sequencing data. We utilize a CNV calling algorithm that compares mean read depth and distribution for each target in the test sample against multiple matched controls. Neighboring target read depth and distribution, and zygosity of any variants within each target region are used to reinforce CNV calls. All CNVs are confirmed using another technology such as PCR, aCGH or MLPA before they are reported.
As of March 2016, 6.36 Mb of sequence (83 genes, 1557 exons) generated in our lab was compared between Sanger and NextGen methodologies. We detected no differences between the two methods. The comparison involved 6400 total sequence variants (differences from the reference sequences). Of these, 6144 were nucleotide substitutions and 256 were insertions or deletions. About 65% of the variants were heterozygous and 35% homozygous. The insertions and deletions ranged in length from 1 to over 100 nucleotides.
In general, sensitivity for single, double, or triple exon CNVs is ~80% and for CNVs of four exon size or larger is close to 100%, but may vary from gene-to-gene based on exon size, depth of coverage, and characteristics of the region.
When Sanger sequencing does not reveal any difference from the reference sequence, or when a sequence variant is homozygous, we cannot be certain that we were able to detect both patient alleles. Occasionally, a patient may carry an allele which does not amplify, due to a large deletion or insertion. In these cases, the report will contain no information about the second allele. Our Sanger and NGS Sequencing tests are generally not capable of detecting Copy Number Variants (CNVs).
We sequence all coding exons for each given transcript, plus ~10 bp of flanking non-coding DNA for each exon. Test reports contain no information about other portions of the gene, such as regulatory domains, deep intronic regions or any currently uncharacterized alternative exons.
Our ability to detect minor sequence variants due to somatic mosaicism is limited. Sequence variants that are present in less than 50% of the patient's nucleated cells may not be detected.
Runs of mononucleotide repeats (eg (A)n or (T)n) with n >8 in the reference sequence are generally not analyzed because of strand slippage during PCR.
Unless otherwise indicated, DNA sequence data is obtained from a specific cell-type (usually leukocytes from whole blood). Test reports contain no information about the DNA sequence in other cell-types.
Rare, low probability interpretations of sequencing results, such as for example the occurrence of de novo mutations in recessive disorders, are generally not included in the reports.
This CNV calling algorithm used in this test detects most deletions and duplications; however aberrations in a small percentage of regions may not be accurately detected due to sequence paralogy (e.g. pseudogenes, segmental duplications), sequence properties, deletion/duplication size (e.g. single vs. two or more exons), and inadequate coverage.
Balanced translocations or inversions within a targeted gene, or large unbalanced translocations or inversions that extend beyond the genomic location of a targeted gene are not detected.
In nearly all cases, our ability to determine the exact copy number change within a targeted gene is limited. In particular, when we find copy excess within a targeted gene, we cannot be certain that the region is duplicated, triplicated etc. In many duplication cases, we are unable to determine the genomic location or the orientation of the duplicated segment with respect to the gene. In particular, we often cannot determine if the duplicated segment is inserted in tandem within the gene or inserted elsewhere in the genome. Similarly, we may not be able to determine the orientation of the duplicated segment (direct or inverted), and whether it will disrupt the open reading frame of the given gene.


text:
Haute to Trot
Newcomer Delphine Manivet is bringing real-life appeal to the rarefied world of haute couture.
by Alexandra Marshall
Haute couture is often used as a marketing tool for large fashion houses—a bit of out-there jazz hands orchestrated to inspire the larger public to buy perfume, or to get a designer name-checked on the red carpet. But when a couturier has no agenda other than making one-of-a-kind gowns for the clients who actually buy them—not celebrity loaners—the results can have a much more intimate and low-key appeal. Such is the casewith the 15 hand-sewn dresses that 38-year-old Delphine Manivet showed for her first collection this past July in Paris. There was a strapless black number made of hand-rolled chiffon cords with a wide pannier skirt of Versailles proportions, a floor-length gown draped in tulle with appliqué winter flowers, a deep-cut tank ballgown in black velvet and organdy, and a check silk jacquard dress with a contrasting wool topcoat that could have been from an MGM set in the heyday of the famed costume designer Adrian. "My idea was to make just one piece for one woman—no need to accessorize with diamonds and a weird bun," Manivet says, pantomiming an updo with her tousled honey-colored hair. "If the dress is well done, you don't need anything else, not even much makeup. With perfect satin and embroidery conceived just for her, boom—she's beautiful."
Given that narrow focus, it's not surprising that Manivet's first collection is less a group of dresses that tell a story than a cluster of beautiful pieces created with specific clients in mind. Each will have only one life with one woman. "Once I sell one of these," she explains, "it's done. Finished. It will never be sold again." Not in an altered form, not in a different color.
It might seem insane for a fledgling designer to make that kind of promise—or to hang out a couture shingle at all these days, given the ever present rumors of the sartorial art's demise. There are also the unflinching standards of the Chambre Syndicale de la Haute Couture to deal with. Its governing body insists that clothes be made entirely by hand and that a designer have a dedicated atelier with at least 20 employees, based in Paris. The couture federation generally waits at least two seasons to consider a designer for membership and even then doesn't grant full membership, including the right to call the work "haute couture," for several more years.
So Manivet has some time ahead of her to benefit from what is essentially the most elite stamp of approval in fashion, one that all but guarantees her access to the most prestigious technicians. (She is already collaborating with some legendary workshops, like Paloma, for tulle work, and Lesage, for embroidery.) "It takes a long time to make these clothes—hundreds and hundreds of hours," Manivet says. "But that's the top of luxury today: taking time."
In the past 10 years, Manivet has designed wedding dresses for Lily Allen and Emma de Caunes, one-off eveningwear for French movie stars like Mélanie Thierry and Astrid Bergès-Frisbey, and has built most of her business working one-on-one with her clients. Four years ago she started a small collection of ready-to-wear evening clothes that she has sold in her boutiquein the 8th arrondissement and in department stores in Asia like Isetan, as well as Barneys New York. But she has grown slowly and organically. "Since I don't have perfume and makeup or a lot of prêt-a-porter," she says, "my goal with this collection was simple: to just sell the dresses. And we already sold several! You really have to believe in haute couture to make it work. And I do."
Hair by Ramona Eschbach at Jed Root; makeup by Marie Duhart at Atomo Management; manicures by Charlene Coquard at Artlist. Models: Natali Eydelman at Women Management, Romy De Grijff at Elite. Digital Technician: Yohan Burel. Photography Assistant: Bryan Monaco. Fashion assistant: Marine Boisset.


As of Wed/Thurs of this week, our group is officially starting our 100 Mile Diet. It's been a long time coming, so it's exciting to finally be here!
I'm sure it will be an interesting week for everyone and I can't wait to hear the stories!


Set amidst lush greenery, the family-run Asteras Kalives is located in Skala Potamia of Thassos, within 550 meters from taverns and mini markets. It offers air-conditioned units with free Wi-Fi and views over the mountain. Opening to a balcony, the rooms and apartments are equipped with a fridge and a TV. Each comes with a private bathroom with shower, while some also include a kitchenette with cooking hobs. Asteras Kalives is located 1.2 miles from both the centre of Skala Potamias and the famous Chryssi Ammoudia beach. Limenas town and port are at a distance of 6.2 miles. Free parking is possible nearby.
Aegean Islands. With jagged landscapes and pristine beaches, influences from Asia Minor abound on the islands, in old-fashioned island cuisines, traditional village culture and dramatic celebrations. Lesvos, Chios and Samos offer easy connections to Turkey's coastal resorts and historically Hellenic sites. These North East Aegean Islands are much less visited than the Cyclades or Dodecanese islands, and so retain a much stronger Greek identity. There's still plenty to attract those looking for a relaxing vacation, with lots of good beaches, hotels and restaurants, but here you'll also find that elusive 'real Greece'. Situated in Skala Potamias, Thassos, 64004, Greece, Asteras Kalives offers hospitality and comfort to anyone wishing to rejuvenate and unwind, whether it is for a short or a long stay. In addition to the Asteras Kalives services you can choose from an abundance of leisure activities, including the adventure walks, fishing, boating, and bicycle tours, that guarantee you unforgettable memories. We are looking forward to seeing you among our guests!


text:
This is an **experimental** package that provides utilities for React Refresh.

Its API is not stable as that of Next.js, nor does it follow semver rules.

**Use it at your own risk**.

## Usage

All entrypoints below must wired into your build tooling for this to work.

### `@next/react-refresh-utils/loader`

### `@next/react-refresh-utils/ReactRefreshWebpackPlugin`

### `@next/react-refresh-utils/runtime`


Generally, windows combine life to the particular home, making keep in mind this look great and valuable. They help ventilation and view. In addition, modern windows 're capable of the home, thus cutting down your heating and cooling down energy. As such, window replacement is ordinarily a service that you should project to get right and perfect often the first time. While most do-it-yourselfers can handle replacement glass windows themselves, getting the actual professional to do the job will most likely ensure that you have end up and a safe and / or properly installed windows.
The search of windowpane replacement roofing companies can start by through searching the internet service and newspapers. Their countless sites within just internet ones have licensed contractors who will personal you instantly you fill up some information. Nevertheless looking around for some sort of contractor ask the everyone you be aware who previously had their pickup truck's window replaced in addition to the are full with a work. They should also look at only their succeeded windows the fact whether shoppers are contented with the work at only their residential home. You will probably also seek the advise of your residence and friends if they begin to had all of the better method. The most beneficial option most likely will be causing the job to dozens of contractors who usually are highly known on their do the trick and experience expert gentleman in their personal team. Escape from giving usually the task to positively those window replacement roofers who tend to be relatively novel in personal work.
After generating the index of the entire contractors, typically the first product the human being should do is to ask you see, the contractors in order to come home and issue the options for substitutions and the prices. Prior asking each contractor in visit your actual home verification whether it charge anything at all for deliberation or less than. It definitely is possible the idea big companies might charge some income for session. But money arrested will be worthwhile while you definitely get the advice from the adept professionals. Make certain of that the family musicians who are good about giving all right strategies should become present so it may possibly make its work masse much easier for your and a contractors. In which will a lot not to assist you to have hundreds of people who have typically the habit of forcing their advice referring to others as the it is likely to lead so that you conflict.
You preferably should also call the contractors their expertise in sun rays the windows vista and perception of locker trends in windows routine. Be attentive from where contractor who also is astonishingly desperate wearing doing usually the work and as well , agrees all the way through all your personal requests. When you you take the costing from all the the contractors, you should compare currently the prices coupled with options. Any person should run for most appropriate pricing and additionally option available, also bear in view the service provider that owns a skilled person have to have to be given a task. After generally decision definitely is made you can should sign up some sort of contract considering the home window replacement contractor. The policy should just be well put and will want to have every single the vital point points (Window Replacement Estimates), pricing (Window Replacement Costs), terms combined with conditions. The main copy of contract would be to be had to each of these the sides to avoid any conflict later regarding.


Yes! In fact, martial arts is a beacon of light for kids who just don't fit into team sports. Kids who couldn't throw a ball well or run fast find that martial arts is accessible to them. It's something they excel at, and as a result, their confidence soars. Plus...no one is left out or sits the bench at Cascadia Martial Arts - Parksville! We make sure everyone gets personal time to work on specific needs for success!
Q: "Do you guys offer only group classes? Or private classes too?"


· Alloy powder based SMD Inductor with lower core loss.
· High current output chokes, up to 26.0 Amp with approx. 30% roll off.
· Flat wire windings provide extremely low DC and AC resistance.
· T & R Qtys: 150 pcs , 13'' Reel.


The banquette rooms of our restaurant are perfect for conferences, trainings, family gatherings and wedding receptions. We can provide our guests with technical devices such as flat screen TV, projector, flipchart and more. We also try to satisfy extra needs, for instance ordering cakes and flowers, room decoration, children's menu and performances.
At the weekends children can play, draw and do arts and crafts with the help of a professional kindergarten teacher.


text:
Q: Creating a function that performs a "`DotExpand`" When you make a Dot[a,(a+b+c)] the output will be:
a.(a + b + c)

I want to make a function that expands the dot product, for the previous example would be:
a^2 + a.b + a.c

I don't have much knowledge about pure function. I start to create the function as following:
DotExpand[Dot[l_, r_]] := Map[Times[#, #] &, {l, r}]

In[36]:= DotExpand[(a + b + c).a]

Out[36]= {(a + b + c)^2, a^2}

As you see, is not working. What I have do modify to works?

A: Not sure, are you looking for something using Distribute?
DotExpand[u_,v_]:=Distribute[Dot[u,v]]

For example,
DotExpand[a,a+b+c]

a.a + a.b + a.c

DotExpand[a+b,b+c]

a.b + a.c + b.b + b.c

redpajama_set_name: RedPajamaStackExchange


text:
A.R.T.I. Core Leadership
Africana Repertory Theatre of IUPUI (A.R.T.I.)
August Wilson's 10 Points of Black Theatre
Black Stage
Contact A.R.T.I.
OnyxFest
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Africana Repertory Theatre of IUPUI
TKHR
Uncategorized1 Comment
TKHR June 24, 2020	 September 9, 2021
Play: Interrogation
Location: The District Theatre
Date of interview: June 11, 2021
Interviewer: Sha-Nel Henderson
Actor interviewed: Jon Studdard as Chuck
Brief Summary (taken from social media): Interrogation was written about black men, for black men. So that they may be heard. Rav'n Partee dug into what lies beneath what they are expected or presumed to be. After interviewing a number of our men, Rav'n translated their sentiments to compose this piece. It was such an honor and she hopes to do y'all some . . . JUSTICE.
Description written by Sha-Nel Henderson: Interrogation explored the many perspectives of Black men in America. This production shed light on police brutality, homosexuality, father and son relationship and how their daily life experiences have shaped the way they navigate through the world. With poetry, anecdotes, and enthralling conversations, writer and director Rav'n Partee draws our attention to an important subject matter that has been neglected for too long.
Black Stage: What would you say you enjoyed most about participating in the production?
Studdard: Throughout the whole process, I would say Rav'n who was our director; was very interactive with us. Since it was her original work, she said we could add to it. Sometimes things don't feel right to you, so a lot of our spoken word pieces you see in it (the production) talked about our personal struggles
Black Stage: Why is a production like this so important right now?
Studdard: I think, especially with 2020 being such a crazy odd year the fact that something that was written by a Black female and performed by Black artists is a huge deal! Just because Black people have so much to say, we are not always afforded the opportunity to say what it is we need to say.
Black Stage: When we are talking about the liberation of Black people, how would you characterize this production within that?
Studdard: I mean, it's unity and I love that!
By Leah Humphrey
Under a warm and sunny sky, audience members recently were impressed with a play at the District Theatre entitled Interrogation written by a fresh young playwright, Rav'n Partee. The play is centered around the experiences and lives of four Black men as they try to navigate conflict, financial stability, love, and violence. After asking many attendees the question, "What do you think?" The response from the audience was positive and proved that the production touched on topics and characters that were close enough to reality that many audience members felt deeply connected to the storyline.
Juanita T. – "Very enlightening. I usually date women, so, me, watching this show gave me another perspective on the male mindset and the male perspective out here in this world. I'm glad I got to see and experience that. Especially for the Black man. A lot of people are not open to hearing their voice, and this is the time for them to get their voice and their emotions and their feelings out. And for them to get a perspective of that themselves on a personal level. Really dope, really dope."
Jae- " It gave a good perspective…different perspectives on what the Black man faces in everyday reality. It was good to, ya know, get that out there, in a way where people can understand and it's not too heavy. "
Ivory- " I thought it was exceptional… I still got goosebumps, because the story line that a lot of those young men told up there today, even the OG that was me. I do Simply Serenity now, it's comedy shows, spoken word. I met the young lady that put this whole thing on, because she works at her day job. And she told me her vision about two or three weeks ago at my set, and I was like I'll be there. And it was everything and beyond because now I want to be up on that stage next time and spit some spoken word."
Me: Did anything stand out to you?
Ivory: " I had the same issues with my son that the OG was talking about. That shit was real. You can be in the household, you can raise them up, you can give them a hundred and ten percent. They gotta see it for themselves. My son is 27 years old and we haven't spoken in two years. So yea, that was real. That touched me. All of it. But that part right there."
Past OnyxFest theatrical productions add colorful perspectives to this year's IndyFringe!
By Vernon A. Williams
Life and death literally lie in the power of words. Whether written, spoken, performed in song or on stage, as the timeless idiom suggests, words remain far more potent than the sword; particularly given the plethora of actual and virtual platforms.
The style and authenticity of narratives from an unapologetic Africana perspectives honor legacy, define status, articulate challenges as well as opportunities, and devise a blueprint on which to build the foundation for unborn generation.
For optimum bodily function, sleep is essential. To get the most out of waking hours, knowledge is key. The Africana Repertory Theatre of IUPUI (A.R.T.I) is a source of awareness leveraging the creative and communal power of arts as a tool for fostering community, empowering youth, and creating positive social transformation. A.R.T.I. community outreach focuses on educational programs, arts-based research, university teaching and theatrical production.
In the height of resurging social consciousness spurred by, among others, the atrocious deaths of Trayvon Martin, Sandra Bland, Breonna Taylor, and George Floyd, social media and the performing arts became increasingly pertinent to strategy building and proactive direction. There was renewed emphasis on being "woke" – synonymous with being both informed and aware.
From inception, Black performing arts have countered misinformation and jaded perspectives of African American life and culture. The words performed on stage by actors often embody an Africana diaspora that is not merely entertaining and engaging but, more importantly, contribute positively to education, inspiration, affirmation and aspirations.
After 11 years, OnyxFest Indianapolis remains the state's first and only theater festival exclusively for Black playwrights. Two plays that emerged from last year's event – performed in the midst of a global pandemic – provide a riveting and timely theatrical experience.
One of those plays, "I Feed You Defiance" is the passionate portrayal of the dilemma facing women of color, who are heads of households, striving to prepare sons for a confrontational society. The other, "Being Black," is a soulful mosaic of the life and culture of a people featuring expressive vignettes that tell myriad stories that exude unique and intricate realities of Black Americans.
After sold-out performances in 2020, both plays were invited to participate in IndyFringe – the largest theatrical festival in Central Indiana. CEO Justin Brady says that the popular stage extravaganza "exists to encourage support and assist independent artists by providing an accessible outlet that draws together diverse elements of the community and inspires creative experiences through the arts."
Artistic diversity will take center stage.
Director Tijideen Rowley said his play, "Being Black," is about capturing the everyday impact of systemic racism and how we respond to it from a position of strength and victors. "We want to show that the obstacles faced are real but celebrate our wisdom, strength, resourcefulness, values, resilience and perseverance in overcoming whatever we face; declaring without permission our national and global significance. This play is the joyful truth that the Black community is much more than a monolith, deeper than stereotypes and boundless in the reach of its possibilities."
Playwright/Director Rain Wilson, "When you say art does not have to be about activism, I agree. But mine does. "I Feed You Defiance" is about mothers giving lessons to Black and Brown sons. We have to teach them how to disobey, oppose and defy a system that would otherwise be oppressive to them. Our voice is necessary, no matter how heavy the message, to draw people to the side of needed change. The voiceless must be heard, and be presented so that they land in the hearts and minds of those who can scream their needs loud, causing it to shake oppression loose at its roots."
IndyFringe is held August 20 through September 5. Visit onyxfest.com or indyfringe.org for tickets to "I Feed You Defiance" and "Being Black."
Anatomy of a Dream
Ophelia Wellington: Founder of Freetown Village
By Terrence Lambert
BlackStage: When was Freetown Village formed?
OW: 1982
BlackStage: What inspired you to start the organization?
OW: I just really started reading The Bible, history, and so forth and used my background as a teacher to come up with the concept that we use for first person interpretation and theatre programming.
OW: When I first started Freetown Village, all of our programs were in the year 1870 because that was five years after the Civil War, five years after the thirteenth amendment that emancipated the slaves. It was during the industrial revolution where the Black community was thriving and prospering. It was a fairly inspirational time for us in this country.
BlackStage: Can you describe the feeling of watching Freetown Village grow since 1982?
OW: There's some good and some bad because I think Freetown Village is one of the greatest art forms, but everybody doesn't agree with me. I've enjoyed explaining and enjoying Freetown from the one little file box that I had in a little room that was probably a 10×10 with two desks, two chairs, and one trash can and a big old black phone on the desk. And now I've got more than one file box.
There are people who have been involved with Freetown Village over the years. There are children who've seen one of our programs who now have children and can recall with great joy their experience with Freetown Village.
We use a lot of interaction with the audience. And when I first started Freetown, I went to the theatre professionals to ask them for their help in planning. Many of them told me, "Ophelia you can't use the audience like that because you can never predict what the audience is going to do." So, as a classroom teacher, I could never predict what my students were going to do, but I knew I was in charge and the one in control.
The first shows we did were based on their professional recommendations, and I hated those shows. I couldn't wait for them to be over. After that I said, "thank you for your professional help, but I'll take it from here" and I started using what made the most sense to me. History is not that exciting to everybody, but if you personalize it you make people feel the passion, the heart, the story, the triumph of that individual. If you pepper that with things people can relate to, people understand. They get it. We have so many stories of people who've said "I never knew that " and "I'm so glad you talked about that" or "I learned a lot." They have that memory because they related to the character. People relate to people.
BlackStage: What kind of impact has Freetown Village had on the African American community in Indiana?
OW: Almost every single one of our performers will talk about how they learned things from Freetown Village and how much their life was changed. Many talk about how they've never learned about this in school. Most of us don't learn this in school but that doesn't prevent us from learning. We've got books, we've got the internet, and we have resources. So we have to take the time and learn it. People can't leave it all to teachers because it's not gonna get done.
BlackStage: Why is performance important in telling the stories of African Americans ?
OW: Seeing is believing. And acting is believing. So if I wanted to tell you about African American history and culture in Indiana, I can do the research, prepare a paper and give it to you. Sit down and read it. Or I can give a lecture and talk about what I discovered. Or I could show you history. And if I show you you're more likely to relate to it. You're connecting the senses. It's more than auditory, it's more than the visual. You're connecting all the other senses with it too. It's the engagement.
BlackStage: As founder, what has been the most rewarding experience throughout the nearly 40 years of Freetown Village?
OW: The feedback. What people say they've learned or appreciate about Freetown Village. Sometimes I've been to places where people are talking about Freetown and I think "What, that sounds pretty good!"
BlackStage: If you could invent Freetown Village again, is there anything you would do differently? What? Why?
OW: I would start out with a greater long range plan. With the knowledge I have now I am more strategic with what I am doing and what I have. We've traveled to 80 of our 92 Indiana counties and even know there's a great opportunity to travel more because of different Diversity, Equity, and Inclusion initiatives.
BlackStage: For people who've never been to a Freetown Village performance, what do you hope they gain?
OW: As an educator I'm always looking to see what people are learning. We've had a lot of fun over the years. We have kids now who have kids that went through our summer camp and talk about the things they have done and how Freetown has changed their life. It's almost like an out of body experience. When people talk about Freetown I have to realize OK, this is the program I started, but it's really good to hear what people say.
© Africana Repertory Theatre of IUPUI 2021


Gum disease, also called periodontal disease, is a progressive oral health condition. When it first begins, it is practically undetectable. Plaque and bacteria that have built up in the mouth irritate the gums, causing inflammation. Gums appear red and swollen and often bleed when you brush and floss. The longer the disease goes untreated, the worse it becomes. The gums pull away from your teeth, allowing bacteria to fall below the gum line. The bacteria begin attacking your periodontal ligaments and jawbone, causing these structures to weaken. Ultimately, untreated gum disease can lead to tooth loss.
• The appearance of small spaces between your teeth.
• Tooth sensitivity, which is the result of root exposure.
• An increase in tooth decay and cavities.
• Loose teeth and alignment issues.
• Cigarette smoking and the use of other tobacco products.
• Dry mouth, which can be caused by alcohol use, certain types of medications, and certain health conditions.
It is important that you brush at least twice a day and floss at least once a day. You should also have your teeth professionally cleaned and examined at least twice a year. In addition to your oral hygiene, there are several foods that you can eat that can promote your periodontal health. Foods good for your gums include dairy products, dark leafy greens, and crunchy fruits and vegetables. Treating gum disease is essential for restoring your periodontal health. However, it is essential that you take care of your mouth to prevent gum disease from reoccurring.
Why do I Need Healthy Gums?
Your gums play several important roles in your mouth, and if you ignore existing gum disease, it can have serious ramifications to your health. The gum tissue sits snugly against the necks of your teeth, providing a tight seal that prevents bacteria and other debris from reaching the tooth roots and your jawbone. Your gum tissue aids in providing additional stability for your teeth, helping to keep them in proper alignment. The gums also play an integral role in the quality of your smile.
If you have any questions or concerns regarding the health of your gums, or you suspect that you might have gum disease, call Acree & Isenhower Family Dentistry at (209) 531-9003 today. When most people think about a healthy mouth, they often think only about the teeth. While your teeth are a critical component of your mouth, and taking care of them is essential for keeping them strong and preventing serious oral health issues, they are not the only the only one. Your gums also play an important role in a healthy, happy, beautiful mouth. Maintaining your periodontal health is critical for ensuring that your gums function properly. Acree & Isenhower Family Dentistry is here to help.


All in-flight safety videos are not the same! The local versions really make me giggle – I've particularly enjoyed the different cultural references as the video production teams have had fun with different cultural characteristics of their passengers; hair styles, make up, clothing, body shape, even henna. Goodness only knows what they'd come up with if they created one in the UK to reflect British passengers.
My favourite has been Fly Dubai's – here are some highlights from both theirs and Gulf Airways.
Here's the Fly Dubai video – excuse the background noise (not our child I hasten to add).


part of my california trip at the beginning of the month included spending the day with jacque in san diego. she is one of the best dressed people i know, and i always feel the need to look super cute when i see her (well i feel that way all the time but especially when i see her). we didn't have really set plans. we talked about possibly walking around some beach towns, grabbing lunch somewhere, and maybe doing a little shopping.
i'm all about fashion over function, but walking around san diego in really cute shoes didn't seem very smart. i stressed a little about what to wear, but then i had to pack.
we ended up walking around balboa park and ending the day shopping at the mall. i was so happy i wasn't in somethings terribly uncomfortable.


text:
//
//  GTLAdSenseSavedAdStyle.m
//

// ----------------------------------------------------------------------------
// NOTE: This file is generated from Google APIs Discovery Service.
// Service:
//   AdSense Management API (adsense/v1.3)
// Description:
//   Gives AdSense publishers access to their inventory and the ability to
//   generate reports
// Documentation:
//   https://developers.google.com/adsense/management/
// Classes:
//   GTLAdSenseSavedAdStyle (0 custom class methods, 4 custom properties)

#import "GTLAdSenseSavedAdStyle.h"

#import "GTLAdSenseAdStyle.h"

// ----------------------------------------------------------------------------
//
//   GTLAdSenseSavedAdStyle
//

@implementation GTLAdSenseSavedAdStyle
@dynamic adStyle, identifier, kind, name;

+ (NSDictionary *)propertyToJSONKeyMap {
  NSDictionary *map =
    [NSDictionary dictionaryWithObject:@"id"
                                forKey:@"identifier"];
  return map;
}

+ (void)load {
  [self registerObjectClassForKind:@"adsense#savedAdStyle"];
}

@end


Our Polaris RZR Chassis Bones sleeve the RZR's chassis tubes and increase their thickness by 130% These not only greatly increase the strength of your RZR's chassis but they also feature a machined end piece with a rubber o-ring that keep out mud and water. All pieces come in a Zinc Chromate finish to resist corrosion.
Please verify that all the parts are present. The included parts are shown in the picture below. Read the directions completely before proceeding with the installation. If you have any questions, feel free to give us a call or email.
Remove the lower skid plate to provide access to the 2 front frame tubes.
Measure forward 1.375" to 1.5" from the front of the lower A-arm rear tab mount and center punch a mark. Make sure you punch in the direction that facilitates getting your drill into that space so you can drill the hole.
Proceed to drill the hole with the provide # 7 drill bit. Take your time so as not to possibly bend and break the drill bit.
Take the 2 machined fittings and install the o-rings in the groove located on the fittings. We recommend you apply grease to the o-rings to help them provide a better seal on the chassis. Do this to the 2 fittings. See below picture.
Insert the 2 tubes in the chassis openings. Make sure the end with the threaded insert inside the tube is facing you. Locate the slot in the tube inline with the 2 holes you drilled for the tubes. You will be able to spin the tubes to line them up with the holes. You can apply a light coating of grease on the outer surface of the tubes before sliding them in. This will help resist corrosion and aid in spinning them around. The fit may be snug and they may need to be bumped in with a mallet.
Make sure all slots on the tubes are located under the holes. If you are having difficulty lining them up, use the hardware to pull the tube out and reinsert it correctly. Take the self tapping screw and put a dab of grease on the threads. Now thread the screw into the previously drilled holes on the upper two chassis tubes. These screws will cut the new threads and let them bottom out. Do not over tighten.
Insert SS cap screw into end caps and insert into the chassis tubes. Start threading cap screw as you push the cap flush. The cap screw needs to be TORQUED TO APPROXMATELY 40 FT. LBS. If you try and tighten it too tight, you may damage the part.
At this point tighten the end caps and wipe off excess grease from the end caps. We want to thank you for purchasing an ATR product. If you have any questions, please feel free to give us a call.


Hi girls! Today I am showing you my very first franken. I had some green glitter laying around and an old black I didn't really use, so I thought I'd throw them together. The result is an opaque black with some green peeking through. I really love it, only downside is it really eats topcoat. Hence the name, The Big Fat Glitter Monster!
I used around half a bottle of Rimmel Black Out, a big scoop of Emerald Glitter from Dollar Nail Art, some drops of OPI Rapidry to make the black a little less opaque, and gave it a good shake. I've let it sit in my Helmer for 2 months now I think and it's pretty thick because of the amount of glitter. But, the polish was easy to apply and nearly good in 1 coat. 2nd coat to even out some spots.
I used Essence Studio Nails Better Than Gel Nails Top Sealer (2 coats) which isn't really quick drying, but thick yet easy to apply, and 1 thin coat of INM Out the Door to make it even more shiny. Too bad I still do not have a glass like finish left!
1. I love your nails.
2. This is so pretty!
Why haven't you showed it before?!
1. You are crazy. But thanks :D.
2. You are so sweet!
Haha I am not sure, never really was in the mood for this one I guess :).
Wow, echt heel erg mooi! Mooie foto's ook!
Dank je wel! Wat een lief compliment :).


Kaffe 1668 is an independently owned coffee company in New York City. With Scandinavian roots, we believe in the beauty of the simple things in life. We appreciate the gifts of nature, the power of collaboration, and the impact of a smile. Our coffees are sourced, roasted, and brewed with care and dedication. For us, it is a true joy to offer you exceptional coffees from around the world.
We are closely integrated with Landskap Kaffe Rosteri, our coffee roasting company.
Kaffe 1668 promotes a healthy and active lifestyle. We complement our coffee and tea offerings with a carefully developed menu of pastries, sandwiches, salads, juices, and raw bars. Everything is freshly made in-house daily.


text:
hello@galchimia.com
Por qué GalChimia
GalChimia de un vistazo
Proyectos de I+D
Investigación Química
Química de Procesos
Cinco razones para elegir GalChimia
Catálogo químico
0 Carrito de la compra
Long distance call
Category New papers
Chiral Piperidines from Acyclic Amines via Enantioselective, Radical-Mediated d C–H Cyanation
Synthesis of piperidines using a remote d C–H functionalization of amines with a chiral copper catalyst
When this paper landed in my hands, my first thought was «What on earth is an interrupted HLF reaction?» Well, HLF stands for Hofmann–Löffler–Freytag but the «interrupted» bit was still a mystery.
The Hofmann–Löffler–Freytag reaction is in fact quite old (first described in 1833), although its mechanism was not clearly established until the late 1950s. In short, the reaction yields a cyclic amine (typically a pyrrolidine) starting from an N-halogenated amine. The reaction proceeds through a free radical generated from the homolytic cleavage of the N–halogen bond. A critical step of the propagation sequence is a 1,5-hydrogen atom transfer (HAT), which is in fact the responsible for the remote functionalization of the g– or d-position of the alkyl chain where the cyclization will take place.
Lately, there has been a lot of interest in C–H functionalization, which can be aptly described as the Holy Grail in Organic Synthesis because it is effectively the functionalization of common bonds without the need for specific functional groups. This is usually accomplished through the innate reactivity of the molecule or specific reagents and a suitable catalyst. Liu and Stahl have been working on asymmetric a C–H functionalizations of benzylic positions through a HAT mechanism, which in turn inspired this paper by Nagib et al. (Ohio State University, Columbus, USA). What if the d C–C formation could be made asymmetric by intercepting a regioselective 1,5-HAT? That's what the above «interruption» is all about.
The concept is rather elegant: let the reaction proceed, but instead of allowing the radical to go through the usual HLF mechanism, trap it with another carbon radical like a cyanide. This, Nagib et al. accomplished using a copper catalyst; since the catalyst is chiral, they obtain an enantioenriched cyanide. And that we know very well how to transform into a piperidine.
So that's it. They took a very old reaction, revamped it using a chiral copper catalyst, and performed a chiral d C–C bond-forming reaction. As usual in these cases, success was not that easy. They screened several copper catalysts and ligands, but the final conditions are straightforward enough for any competent organic chemist: take an N-fluoroamine, use 3% of Cu(OTf)2, 7.5% of a ligand, stir in CH3CN/DMAc at r.t. for some hours, and presto. They obtain excellent yields with pretty impressive ee's of d C–H cyanation products. Further treatment with DIBAL affords chiral piperidines, a,d-diamines if BH3 is used to reduce the nitrile, or amides if the reagent used is H2O2.
One of the limitations of this method is that the δ-position must be benzylic, meaning that it must be adjacent to an aromatic ring. Substituted phenyl rings work fine, as well as thiophene and naphtalene.
Chem, 2019, 5, pp 1–8. See: 10.1016/j.chempr.2019.09.010
Catalysis Copper LSF Piperidines
Cebreiro, s/n - 15823
O Pino - A Coruña, Spain
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Copyright © | 2018 | All rights reserved


Hello and Welcome to Il Giardino di Lory , the residence – for us best Lake Como accommodation – is family run. My name is Sarah I am co- owner and manager of Il Giardino di Lory with the great help of Maria.
Il Giardino di Lory is our future, we are caring and growing it to the best of our ability, we are still learning and improving for you.
The best aspect of this job, apart from the view from the swimming pool , is definitely meeting guests from all over the world. I like listening to my guests: most of them tell me about where they live, what they do, what they love and what they hate about their country. I like to know about them.


text:
Q: Android Finish() ignores addFlags(Intent.FLAG_ACTIVITY_NO_ANIMATION) Intent set_login_screen = new Intent(getApplicationContext(),MyClass.class).addFlags(Intent.FLAG_ACTIVITY_NO_ANIMATION);
startActivity(set_login_screen);
finish();

As the title states the Finish() command makes the no Animation flag to be ignored. If i out comment Finish() then the no animation transition happens else the standard animation transition will happen.
Why is that and how can i fix it?

A: I fixed this by adding <item name="android:windowAnimationStyle">@null</item> to a style which i use as a theme for the activity in the manifest.
example
 <style name="NoTitleBar" parent="Theme.AppCompat.Light.NoActionBar">
    <item name="android:windowAnimationStyle">@null</item>
</style>

Manifest:
<activity android:name=".myActivity"
        android:theme="@style/NoTitleBar"></activity>


text:
import ursgal
import os
import shutil

def main():
    """
    Simple example script to demonstrate conversion for mzML to mgf file
    conversion

    """
    uc = ursgal.UController(
        profile="LTQ XL low res",
        params={},
    )

    mzML_file = os.path.join(
        os.pardir, "example_data", "simple_mzml_to_mgf_conversion", "BSA1.mzML"
    )
    if os.path.exists(mzML_file) is False:
        uc.params[
            "http_url"
        ] = "http://sourceforge.net/p/open-ms/code/HEAD/tree/OpenMS/share/OpenMS/examples/BSA/BSA1.mzML?format=raw"
        uc.params["http_output_folder"] = os.path.dirname(mzML_file)
        uc.fetch_file(engine="get_http_files_1_0_0")
        try:
            shutil.move("{0}?format=raw".format(mzML_file), mzML_file)
        except:
            shutil.move("{0}format=raw".format(mzML_file), mzML_file)

    mgf_file = uc.convert(
        input_file=mzML_file, engine="mzml2mgf_1_0_0"  # from OpenMS example files
    )

if __name__ == "__main__":
    print(__doc__)
    main()


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ls lists contents of the current working directory. PyMOL comes with a few commands that allows the user to traverse a directory structure and list files. This is a powerful tool if you have many directories full of files --- you don't have to quit PyMOL, you can just cd to the directory and ls to find the contents.
# list all files ending in, pml, in the current directory.
This page was last edited on 15 May 2010, at 19:02.


WCC Swimming Sessions starting soon!
Its that time of year again when the nights are getting darker and the river is becoming less inviting. Therefore we have booked the New College (Blind College) swimming pool for Worcester Canoe Club swimming sessions as we have done in previous years. These are starting on Monday 31st October.
These are open to ANYONE that would like to keep their fitness levels up and keep in touch with club members over the winter months. We have to pay to hire the pool so like usual there will be a small charge per swimmer. There will be 4 lanes that vary from lanes doing a set fitness session, to lanes that just potter up and down at their own pace, do whatever suits you best. Parents/children/friends of club members are also welcome to join. People must be able to swim to join these sessions as they will not be coached as such.
Follow signs to the visitor parking and you will find the pool in the middle of the campus. There is a code on the door – check on the clubs closed group Facebook page (https://www.facebook.com/groups/worcestercc) to find out what this is or contact me on the number below. Don't worry if you forget the code – knock on the window I'm sure someone will let you in.


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