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Q: Prolog why my function always evaluates to true I have the folowing code
isInRange(Point1,Point2,Range):-
manhatan2(Point1,Point2,Manhatan),
Range>Manhatan.

manhatan2 computes the manhatan distance between 2 points give in as a 2 element list [X,Y]
I don't understand why isInRange always evaluates to true
isInRange([0,0],[0,10],9) evaluates to true
isInRange([0,0],[0,10],100) also evaluates to true
I am pretty sure i did the manhatan function right.Have tested it with many values
Can anyone help me understand what is wrong with my code ?
%Edit starts here
So i traced the damn thing and here is more code i use
modul(A,B,R):-A<B,R is B-A.
modul(A,B,R):-A>B,R is A-B.

extractFromList([H|_],X,R):- X is 0,R is H.
extractFromList([_|T],X,R):- X1 is X-1,extractFromList(T,X1,R).

manhatan(X1,Y1,X2,Y2,R):- modul(X1,X2,R1),modul(Y1,Y2,R2),R is R1+R2.

manhatan2(P1,P2,R):-
extractFromList(P1,0,X1),
extractFromList(P1,1,Y1),
extractFromList(P2,0,X2),
extractFromList(P2,1,Y2),
manhatan(X1,Y1,X2,Y2,R).

The extract fromFromList extracts the Xth element from the given list
modul should return |A-B|
Tracing isInRange([0,0],[0,10],100) everthing whent as i whanted.
Tracing isInRange([0,0],[0,10],9) stoped when comparing the manhatan with the range and
started redoing modul(0,10,_GXXX) evaluating _GXXX to -10 and thus the Manhatan < Range condition evaluated to true thus all isInRange evaluating to true
Why does it do that ?
Why does it redo the modul computation in this way ?

A: The short answer:
The following code does what you want:
manhattan(L1,L2,Result) :- manhattan(L1,L2,0,Result).

manhattan([],[],Res,Res).
manhattan([H1|T1],[H2|T2],Acc,Res) :-
    AccNew is Acc + abs(H1-H2),
    manhattan(T1,T2,AccNew,Res).

isInRange(P1, P2, Range) :-
    manhattan(P1, P2, Distance),
    Range > Distance.

Longer answer:
I tried your code and it doesn't behave as you describe it.
For me, isInRange always fails, because 'modul' fails if A==B.
You should change the test on the first case to A =< B.
Or, even better, use the builtin 'abs' function.
I assume that in your previous version you didn't have a test in the second case.
In that case Prolog will try the second case when the first case leads to failure (for example because Range > Manhatan fails).
Adding the test in the second case in one way to solve this problem.


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Q: Any way to disable parameters or execute SQL statements directly in JDBC? I am trying to ues JDBC PreparedStatement to execute a SQL statement which has a question mark ? as operator. (It's the hstore ?| operator)
It throws an exception tells me that I have not specified the parameter org.postgresql.util.PSQLException: No value specified for parameter 1.. Which it should be the operator. Is there any way to by pass the parameter check and  execute the statement directly?
I have seen database feature in IntelliJ can directly execute SQL with JDBC driver, I think there should be a way
There is an question (Escaping hstore contains operators in a JDBC Prepared statement) about this issue, but I really need this operator to make index working on large data sets.
Thank you

A: You can use SQL function inlining. A simple SQL function will get rewritten (almost always).
CREATE OR REPLACE FUNCTION hstore_contains(hstore, text[]) RETURNS boolean AS $$
    SELECT $1 ?| $2;
$$ LANGUAGE SQL;

So the two queries below will get identical query plan and will both take advantage of indexes:
SELECT * FROM tbl WHERE hstore_contains(col1,array['a','b']);

SELECT * FROM tbl WHERE col1 ?| array['a','b'];

redpajama_set_name: RedPajamaStackExchange


See the Dictionary entry on read groups for more information about what they represent and why they're very important.
Note that the command line examples in this article have not yet been updated for GATK4. However, the principles they illustrate are valid.
Typically you should add read group information when you perform the original alignments (with e.g. BWA, which has an option to do so). So what do you do if you forgot to do that, and you don't want to have to rerun BWA all over again?


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Thursday 8-11 pm Friday Saturday and Sunday 12 pm - 7 pm
Young Curators Residency Programe
Since 1995 the Foundation has supported young Italian and foreign artists, paying particular attention to the commission and production of new works, and has promoted contemporary art with the aim of attracting an ever-growing public to it.
Since over two decades, Fondazione Sandretto Re Rebaudengo has pursued its commitment to contemporary art and culture. Among the first private foundations opened in Italy, it can be described as an observatory on the artistic trends and cultural languages of our time, across the fields of art, music, dance, literature and design. Launched in Turin on April 1995, on the initiative of its President, Patrizia Sandretto Re Rebaudengo, the Foundation is a nonprofit institution that reflects a new conception of patronage, based on principles of individual responsibility and the sharing of personal passion, knowledge and resources.
The Foundation is housed in two buildings: Palazzo Re Rebaudengo in Guarene d'Alba, an 18th-century manor on the Roero hills, and a museum in the city of Turin, built from scratch in a district that testifies to the city's industrial past and to its more recent transformations. The Foundation has its roots in the Sandretto Re Rebaudengo Collection. Launched in 1992, and built over the years through close interaction with artists, the Collection is an exemplary constellation of works, and reflects the diversity of art research in the past few decades. The choice to institute the Foundation marked a further step in the story of the private collection, which evolved into an organized project open to the public sphere.
Preserving the central role of the artist, as part of a culture of collecting based on sensibility and personal involvement, is a mission spelt out in the Foundation's statute, and takes the form of support to new generations of artists through the promotion and creation of exhibitions, and the production of works. The second mission of the Foundation centers on the visitor, who is both the target and protagonist of initiatives aimed at spreading and expanding knowledge about contemporary art. At the Foundation, exhibitions are a meeting point between artists, curators and public: a space for reflection which, through the works, increases the visibility of current art, and of the reading it gives of the issues of our time (from globalization to environmentalism, from labor to new technologies); exhibitions are forums that amplify the voice of visitors and their interpretations, thanks to the conversational approach of our cultural mediation service, which is provided regularly and free of charge; the exhibition is a space for inspiration and creativity, which find a practical, living expression in workshops especially designed by the Educational Department for each different sector of our visiting public (children, adolescents, young adults, school groups, teachers, families, disabled people).
Over the years Fondazione Sandretto Re Rebaudengo has extended its expertise, which is based on the experimental approach of the institution and on the highly developed skills of its staff. Today the Foundation is an internationally acknowledged exhibition center, as well as an educational institution with a strong identity and extensive experience in training, as shown by such programs as the Residency for Young Foreign Curators, launched in 2006, by Campo, an independent course for Italian curators launched in 2012, or by periodically held study days for teachers and educators, and seminars on such topics as accessibility and cultural mediation.
Fondazione Sandretto Re Rebaudengo encourages the cooperation between institutions and the construction of networks: it is a vibrant actor in the art system of Turin and its cultural scene, interacting with public institutions, banking foundations, local communities, associations and businesses that operate on the territory. In 2014 it promoted the institution of a national Committee of Contemporary Art Foundations (Comitato Fondazioni per l'Arte Contemporanea), as a single negotiating partner to the Italian Ministry of Culture (MiBACT). In 2008 it co-founded the FACE network (Foundation of Arts for a Contemporary Europe). The Foundation can boast a widespread network of contacts in the international system, which translates into support for major events such as Biennials and Kassel's Documenta, and exhibitions focusing on the Collection, which have been hosted in museums and foundations worldwide. With its prize "Premio StellaRe", instituted in 2006, the Foundation intends to highlight the achievements and engagement of women in the domains of culture, scientific research and economy.
Patrizia Sandretto
Re Rebaudengo
Patrizia Sandretto Re Rebaudengo is the founder and President of Fondazione Sandretto Re Rebaudengo. After graduating in Economy and Business at Turin university, she approached the world of contemporary art as a collector, in the early 1990s.
She turned her passion for art into an organized activity in 1995, when she created Fondazione Sandretto Re Rebaudengo. In 1997 the first building of the Foundation, Palazzo Re Rebaudengo, was opened in Guarene d'Alba (Cuneo).
In 2000 the Foundation took its activity of developing and promoting contemporary art a step further, with the opening of a new exhibition venue in Turin, which is now an internationally acknowledged center for research, experimentation, and exchange between artists, critics, rators and collectors from all over the world.
Patrizia Sandretto Re Rebaudengo is a member of the International Council of New York's MoMA, the International Council of London'sTate Gallery, the Leadership Council of New York's New Museum, the Contemporary Art Committee of Philadelphia's Museum of Art, the Board of Center for Curatorial Studies of New York's Bard College, the Board of Directors of Lyon's Ecole Nationale Supérieure des Beaux-Arts (ENSBA)
She is an honorary member of the Monaco Project for the Arts. Since 2008 she has also been a member of the Cultural Committee of the General Confederation of Italian Industry. Since 2014 she is also President of Comitato Fondazioni Arte Contemporanea. She is President of Fondazione IEO-CCM.
THE BUILDINGS
THE TURIN BUILDING
The Center for Contemporary Art (Centro per l'Arte Contemporanea) in Turin has been the Fuondation's main exhibition venue ever since its opening in 2002. The Center is located in the San Paolo district, and was erected upon the former Fergat area, which used to be occupied by abandoned industrial facilities. Fondazione Sandretto Re Rebaudengo acquired a 99-year leasehold on the estate. The building was designed by architect Claudio Silvestrin, and stands out for the essential simplicty of its spaces, which are especially conceived to house and exhibit contemporary art works, and were built with versatility and ease of management in mind. The horizontal direction of the building allows to efficiently manage the existing activities and everyday life of an exhibition center: from transporting and installing works to designing easy exhibition itineraries for the public. The idea behind the building of the Center was to provide the city of Turin with an international space for contemporary art, which can perform an equivalent role to that of the Kunsthalle in Germany, or the Centre d'Art Contemporain in France: a place for meeting and exchange between the public and new generations of artists, critics and curators.
THE BUILDING IN GUARENE D'ALBA
Palazzo Re Rebaudengo is a historical 18 th century mansion, protected by the Department for Architectural and Landscape Heritage. In its majestic rooms, on September 28 1997, Fondazione Sandretto Re Rebaudengo opened its first seat, with the exhibition Cosa sono le nuvole (What are clouds?).
The palace was redesigned as an exhibition center by architects Corrado Levi, Alessandra Raso and Alberto Rolla, with a project that preserved the original architecture. The idea behind the renovation project was one of close interaction between past and present, which is evident in the combination between contemporary materials (clear concrete, aluminum, zinc-coated iron) and traditional ones (the stucco decorations, small stages, and frescoed ceilings). Fully equipped for exhibitions and other contemporary art events, the Center is a versatile space, with a sequence of rooms that lend themselves to a variety of setup, installation and projection purposes. On the ground floor, a large veranda – originally the villa's portico – connects the exhibition rooms with a terrace looking onto the hills, which in summer nights is lit by the ever-present moon, a big round lamp that shines at a height of four meters.
Ever since its opening, the building in Guarene d'Alba has hosted exhibitions produced by the Foundation as well as book and film presentations, debates, lectures and educational labs. The year 2006 saw the completion of enlargment work for the exhibition and Educational Department area, as well as for the residential wing of the building, which since then has accommodated foreign curators.
Fondazione Sandretto Re Rebaudengo is committed to promoting contemporary art, not only through its exhibiting activity, but also by commissioning and producing new works. A frequent way to do this is asking artists to create works for specific projects and exhibitions to be held in our buildings. In 2002 the Foundation covered in full the production of Doug Aitken's solo show New Ocean, which was also presented at the Serpentine Gallery in London and at the Kunsthaus in Bregenz. In 2008, for the exhibition YouPrison. Riflessioni sulla limitazione di spazio e libertà (Reflections on the limitation of space and freedom), 11 international architectural studios planned and created new installations focusing on the prison space.
In 2011, as part of the celebrations for 150 years of Italian Unity, the Foundation organized the exhibition Espressione Geografica (A geographical expression), asking 20 international artists to produce a work related to a specific Italian region. In 2015 Ian Cheng presented his Emissary in the Squat of Gods, the first work in his trilogy of live simulations, which was entirely produced by the Foundation. Adrían Villar Rojas. Rinascimento was a major solo exhibition, designed and created especially for the spaces of the Foundation in Turin by the Argentinian artist, in 2015. Every year, in concidence with the final show of the foreign curators Residency, the Foundation produces several works by the young Italian artists included in the exhibition.
In the ten-year project Da Guarene all'Etna, the Foundation supported young Italian photography, commissioning photographs that described the landscape of Italy, as well as its social and cultural geography.
In 2005 the Foundation participated in the international production of the film by Douglas Gordon and Philippe Parreno, Zidane. A 21st Century Portrait, made possible by a collaboration with Palomar Pictures and Anna Lena Films.
As part of its mission of supporting the work of artists featured in major international exhibition events, such as the Venice Biennale and Documenta in Kassel, the Foundation has produced works by Doug Aitken, Luisa Lambri, Steve McQueen, Goshka Macuga, Meris Angioletti, Wael Shawky, Ragnar Kjartansson, Ed Atkins, Marwan Rechmaoui, and Jason Moran.
Premio Stellare
StellaRe is the name of the Prize which the Foundation has awarded since 2006 to women who, through their work, commitment and ideas, have broken new ground in a wide variety of fields of knowledge, with special regard to the most complex cultural, political and economic strategies that organize today's society. The prize for Premio StellaRe is a ring, designed and made by artist Maurizio Cattelan: it is a very classical engagement ring, only in an enlarged size, measuring five centimeters in diameter, and is a single piece. A brilliant that shines just like the star of Fondazione Sandretto Re Rebaudengo. "The Prize is intended as a homage to those women who have generated ideas, brought innovation and revolutionized our way of looking at reality and interpreting it" explains President Patrizia Sandretto Re Rebaudengo. In 2006 the Premio StellaRe was given to Franca Sozzani, director of Vogue Italia, for her highly innovative, strongly effective communication strategy; in 2007 it was awarded to the Minister of Economy and Planning of the United Arab Emirates, H.E. Sheikha Lubna Al Qasimi, the first woman in her country to hold a government office; in 2009 Lisa Phillips won the prize for her dedication to contemporary art and culture, and her remarkable career as an international curator and director of New York's New Museum; Kazuyo Sejima also received the prize, for a new way of conceiving architecture that is entirely different from the traditional canon; in 2011 the Prize was awarded to Nobel prize winner Elizabeth Blackburn, a molecular biology researcher, for a discovery that can be useful to treat all illnesses related to ageing, including cancer; in 2014 physicist Fabiola Gianotti received the prize for her scientific discoveries; in 2015 the prize was awarded to Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani, President of the Qatar museums, for her philanthropic efforts in supporting the younger generations; in 2016 Allegra Agnelli won the prize for her major support of cancer research, as the Founder and President of Fondazione Piemontese per la Ricerca sul Cancro - ONLUS.
In 2006 the Circolo StellaRe was created especially to assign the Premio StellaRe: a group of women whom Patrizia Sandretto Re Rebaudengo brought together to work on an ambitious project devoted to women, their identity and their value in this new millennium. Each new winner of the brilliant ring of Premio StellaRe is automatically added to the Stellare Club (Circolo Stellare).
Members of Circolo StellaRe include: H.E. Sheikha Lubna Al Qasimi, Elizabeth Blackburn, Franca Coin, Anne-Marie De Weck, Alberta Ferretti, Maria Luisa Frisa, Fabiola Gianotti, Umberta Gnutti Beretta, Paola Manfrin, Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani, Martina Mondadori, Lisa Philips, Giulia Puri, Patrizia Sandretto Re Rebaudengo, Kazuyo Sejima, Warly Tomei and Francesca Tronchetti Provera.
Patrizia Sandretto Re Rebaudengo
HONORARY DIRECTOR
Francesco Bonami
Dino Sandretto
Emilia Broggi Sandretto
Andrea Ganelli
Giovanni Lageard
Giuseppe Pichetto
Agostino Re Rebaudengo
Emilio Re Rebaudengo
Eugenio Re Rebaudengo
Marco Weigmann
Irene Calderoni
CURATOR FOR ITALIAN PHOTOGRAPHY
Filippo Maggia
ASSISTANT CURATOR
Bernardo Follini
PRESS OFFICE AND SOCIAL MEDIA MANAGER
Silvio Salvo
Giuliana Gardini
Chiara Torta
Elena Stradiotto, Francesca Togni, Annamaria Cilento, Alessia Palermo
Art mediators training
Giorgina Bertolino
Art mediators
Eleonora Pietrosanto, Chiara Sabatucci
CAMPO – CURATOR COURSE
Giorgina Bertolino, Irene Calderoni, Vittoria Martini
Carla Mantovani
Renata Malaguti
Giuseppe Tassone

redpajama_set_name: RedPajamaCommonCrawl


So you are studying Chinese or maybe you learned from your parents, but you are looking for ways to brush up. In fairness, any language requires you to go above and beyond the classroom to gain real fluency, and while studying literature and writing is very important, it is not everything.
How fluent you get in Chinese depends largely on you. Maybe you are more interested in reading the classics or being able to understand the newspaper, so it makes sense to focus on written fluency. However, for many, just being able to communicate on a regular basis in Chinese is the first priority. The following are five simple activities that will help you gain better spoken fluency and give you a chance to practice your Mandarin, even in your own backyard.
It always makes sense to have a language buddy when you are learning Mandarin. This is someone that you get together with perhaps once or twice a week and speak Chinese. The first and most obvious place to find a language buddy is, of course, in your Chinese class! However, you might like a bit of a challenge, and for that you will need a language buddy that is a native speaker. If you don't already have a friend that speaks Chinese, a great place to scout for one is at a local university or college, where exchange students are often looking for the chance to perk up their English or local language skills.
Almost every town across the world has at least one Chinese restaurant. Granted, not all of them are necessarily run by Mandarin speakers, but many (if not most) are. What's more, many servers, chefs and restaurateurs are delighted when they meet someone who wants to practice speaking Chinese, and this is a good realm in which to learn fluency in food items and everyday conversation pieces, like the greetings, the weather and background.
Singapore has one of the largest and most authentic Chinatowns in the world, making for a virtual playground for your Mandarin skills. You can chat with shop owners, sales people and vendors about a variety of subjects. This is a great place to test your question and answer skills, as well as your numbers, as you can come up with a variety of questions about prices, size, materials and place of origin. If there is no good Chinatown near where you live, seek out your local Chinese restaurant, as suggested above.
Though not a substitute for a proper Chinese language course, there are many resources online to supplement your Chinese studies. The best among them are the numerous podcasts (like mini radio shows) themed around Chinese language. These can dramatically help your listening skills, as well as teach you new words and context. Alternately, watching Chinese language TV shows, movies or even listening to Chinese pop radio are all great methods for bettering your Chinese in the digital age.
Obviously, this particular activity requires a bit more time and effort, but you will be duly rewarded in your language abilities. Spending time in a place where Mandarin is the native language, especially somewhere like China or Taiwan, is perhaps the best way to solidify your Chinese proficiency. Once you put yourself into an environment where you are forced to use the language everyday, you will start to see your skills increase dramatically!


Jane the Virgin finally returned with "Chapter Eighty-Two" written by showrunner Jennie Snyder Urman and directed by none other than Jane herself – Gina Rodriguez! I loved that the CW changed their signature green to lavender for the show. We finally get some answers about Michael's (Brett Dier) return – and there's no doubt that it's really him… just with no memory of any of them. The show gets meta again as the thread that runs through the episode is how we tell ourselves stories and make stories to remember those important to us to keep even the dead alive in the stories.
The episode opens with an explanation of the Day of the Dead – Dia de los Muertos. People go to loved ones graves on this day and tell stories about them to help keep them alive. The painted faces are also a way to represent a deceased loved one and is also an expression of self. Once again, the show has found a wonderful metaphor that cuts across the many feelings that Jane is having – and the many feelings that we all have around the loss of loved ones.
In the first scene we see young Jane (Julianna Gamiz) with Alba (Ivonne Coll) and Xo (Andrea Navedo) cleaning her Grandfather's grave and hearing stories about him – fast forward to a devastated Jane crying over Michael's grave four years ago. Three years ago, she is still crying; two years ago, they are laughing over the cat, and one year ago, they bring Mateo (Elias Janssen).
The reappearance of Michael sends Jane into a tailspin. The titlecard also nicely reflects this as we see Virgin struck out and then Widow – to be replaces with a question mark. Our stories are how we construct ourselves, how we label ourselves. But Michael doesn't remember her, and Jane feels likes she is now "the Forgotten." Michael losing her memories and stories somehow diminishes Jane's story. Rafael (Justin Baldoni) explains that Rose (Bridget Regan) faked Michael's death, bribed the coroner, and elector-shocked Micheal's memories away. Rafael did a DNA test – there's no mistake. Michael now goes by Jason – after Jason Bourne. He woke up in Montana with no memory and is completely unlike himself, right down to now being a dog person – with Bo, his dog!
It's hysterical when Xo and Rogelio (Jaime Camil) call to find out about the engagement and find out about Michael and Rogelio faints! Jane leaves Michael at Rafael's for the night, and they head to Alba's.
The next day, Rogelio prepares to be reunited with his bro-gelio – Camil is hysterical as always as he primps – pushing Jane out of the way at the mirror. Of course he's sure that his mere presence will restore Michael's memories! Michael's mother Patricia (Molly Hagan) is thrilled to have him back – obviously – but expects Jane to simply pick up where they left off – and take care of getting Michael's memories back.
The doctor (Noel Arthur) tells them that the brain is not an exact science. Michael may or may not ever get his memories back. He suggests taking him back to familiar places and familiar people will help. It appears that all of Jane's attempts fail. He no longer likes any of the things that he used to – and it's really creepy when he's clearly attracted to Petra!
We get an absolutely brilliantly acted and directed scene from Gina Rodriquez as Jane freaks out while Xo and Alba sit at the kitchen table in stunned silence. The scene goes from commercial break to commercial break – about 6 minutes – and it is ONE. CONTINUOUS. SHOT! Jane goes through all of her emotions – is she still married? Jason smells just like Michael – but he doesn't like jokes and talks really slowly – and he's not a cat person! What is she going to do about Mateo? It's just a brilliant scene.
Jane is increasingly upset by going through videos and other momentos to try to jog Michael's memory – and she sees herself with a day of the dead mask. She tells Xo she feels like she's been erased and the Narrator points out that if you leave something out of a story, you change the whole story. We get a classic scene with Xo and Alba on the swing with Jane as they try to comfort her.
Meanwhile, Xo has told Rogelio to be more sensitive towards Rafael, so he's helping Rafael pack to move to the new apartment. Rogelio finds the engagement ring and Rafael walks in as he does. Rogelio suddenly realizes the horrible situation that Rafael is in and tells him that he's come to love Rafael and think of him as family. It's really only when Xo goes to check on Rafael that he breaks down and admits that he's scared that he's going to lose Jane.
Michael/Jason – comes to Jane and apologizes. He knows he's blowing her life up and offers to just go back to Montana.
Jane turns to her writing. She deletes the sentence that says her husband died, and then starts to write their story – meeting, wedding, Michael's death. We see Jane trying to talk at the funeral and just too heartbroken to get through her speech, so even then, Rafael comes to her rescue, getting up and reading it for her. Suddenly, Jane knows what she has to do. The end of Michael's story was the beginning of her story with Rafael.
Just like Jane showed up at Michael's work in the first season, she shows up at Rafael's now. It's his first day, so he takes her outside. She tells him that she's moving in! She loves him for being so self-less – all four years – and for bringing Michael back. They kiss, but there's only one white petal... is this now reality, which doesn't come with romanitc petal showers? Was that a story they were telling themselves?
Meanwhile, Petra deals with Milos' disappearance. JR is worried about her but not enough to let her stay at JR's own place. It turns out that Milos is hiding in a giant teddy bear in Petra's apartment and offers to trade the hotel shares for antibiotics as his wound in now infected.
JR comes to get her things and Petra tries to convince her that they can get through it. JR won't budge because of the lies. Petra tries to explain that this is how she's had to get through life and that she's changed a lot – but it's not enough for JR. Petra promises to change more, but JR says she can't wait and that she can't forget. I loved Petra saying she loved JR and JR saying "I know" – and Jane explaining Star Wars to Michael in the background.
Finally, Luisa has been contacted by Rose because of Rafael having to give up her location. Luisa decides that she will help Rafael find out why Rose took Michael. Our last shot is that Rose is clearly up to something – she's made a video to give orders of some kind to a group of women….
I loved the story thread of Dia de los Muertos that ran through this episode. I also like all the echoes of the past episodes. Great acting and directing as always from Rodriguez! I'm going to be very sad when this show reaches that 100th episode, but I think we are on the right track to really do the ending justice! What did you think of the episode? Let me know your thoughts in the comments below!


Merlin is a drama series based around the legends of the mythical wizard and his relationship with Prince Arthur. Set in the early days of their relat... (more)ionship, it shows the development of each in his respective field, finding his way on the path to future greatness. Humour, danger and excitement abound, accompanied by mythical creatures, magic and of course much medieval swashbuckling.


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Aleksandr Solzhenitsyn Center
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His Life Biography Autobiography Timeline Photo Galleries Video Library
His Legacy Solzhenitsyn Fund Solzhenitsyn Literature Prize Landmarks & Exhibits
The Center About the Center Resource Links Donate Contact us
His Writings/
Large Works & Novels
Short Stories & Miniatures
Articles, Essays, & Speeches
The Solzhenitsyn Reader
Notable Quotations
About Translations
His Life/
His Legacy/
Solzhenitsyn Fund
Solzhenitsyn Literature Prize
Landmarks & Exhibits
The Center/
One Day in the Life of Ivan Denisovich
The story of a common man's day in labor camp. It broke through the ice of government censorship during Khrushchev's thaw in 1962 and made Solzhenitsyn known all over the USSR and the world.
Short Stories & Miniatures > One Day in the Life of Ivan Denisovich
From 1950 to 1953 Solzhenitsyn was imprisoned in the forced-labor camp of Ekibastuz in Kazakhstan. Prisoners here were stripped of their names and were addressed by the identifying number inscribed on patches sewn to their caps, chest, back, and knee. The writer was assigned to a masonry brigade, then to a foundry, and this is the camp described in One Day in the Life of Ivan Denisovich.
"On one long winter workday in camp, as I was lugging a handbarrow together with another man, I asked myself how one might portray the totality of our camp existence. In essence it should suffice to give a thorough description of a single day, providing minute details and focusing on the most ordinary kind of worker; that would reflect the entirety of our experience. It wouldn't even be necessary to give examples of any particular horrors. It shouldn't be an extraordinary day at all, but rather a completely unremarkable one, the kind of day that will add up to years. That was my conception, and it lay dormant in my mind for nine years."
In May 1959, when Solzhenitsyn was living in Ryazan, he finally sat down to write Щ-854 (One Day in the Life of Ivan Denisovich). He wrote it and put it away. He risked offering it for publication only some two years later, after Khrushchev's vociferous attack on Stalin's "cult of personality" at the Twenty-second Party Congress. He sent the manuscript, still titled Щ-854, to the Moscow journal Novy Mir in the fall of 1961. The editor of the journal's prose section, Anna Berzer, was quick to grasp the significance of the unusual submission, and passed it on to Novy Mir's editor-in-chief, Aleksandr Tvardovsky, with the remark that it was about "a prison camp though the eyes of a peasant, a very national kind of work." Once Tvardovsky had joined battle for One Day, he began gathering appraisals of the work from the most authoritative writers of the day, in order to pass their testimonials to the powers-that-be. Kornei Chukovsky titled his review "A Literary Miracle" and wrote that Shukhov exemplifies the character traits of a simple Russian man: "he is steadfast, resistant to evil, hardy, cunning but kind, and a jack-of-all-trades to boot. . . . This story marks the entry of a powerful, original, and mature new writer into our literature. … I shudder to think that such a wonderful tale might remain unpublished."
And Samuil Marshak added this to his review: "Judged by the criteria of clarity and courage, the author can perhaps be compared to Archpriest Avvakum. . . . In his work the Russian people themselves have begun to speak." Asked her opinion of the manuscript, Anna Akhmatova responded by emphasizing each syllable of her verdict: "Every single citizen of the two hundred million inhabitants of the Soviet Union has the duty to read this text and commit it to memory!"
And so, a year after the uncivilized-looking typescript had turned up at Novy Mir and after eleven months of Tvardovsky's efforts, maneuvers, and alternating periods of hope and dejection, the story appeared in the November 1962 issue of the journal, which then had a circulation of a little over 100,000. It was a miracle. As Solzhenitsyn put it in an interview twenty years after One Day's appearance in print, "the 1962 publication of my tale in the Soviet Union is akin to a phenomenon defying physical laws, something like objects falling upwards of their own accord or cold stones becoming red hot without any external stimulus."
Khrushchev's "thaw" proved to be short-lived, however, and by the second half of the 1960s libraries were withdrawing their copies of One Day from circulation in accordance with secret instructions, and soon enough (January 1974) the Central Administration for the Protection of State Secrets in the Press issued an administrative order banning all works by Solzhenitsyn published in the Soviet Union. But by then One Day had of course been read by millions of our countrymen and had been published in dozens of languages all over the world.
What mattered above all was that the publication of One Day seemed to have broken a dam. The writer was stunned by the response.
"There were letters to me, hundreds of them! Endless packets of letters were being forwarded by "Novy Mir", others were brought in daily by the Ryazan postal service—some of them had been sent simply to "Ryazan" with no indication of the street address. . . . It was an explosion of letters from the whole of Russia, one that could not possibly be contained in any single breast. It provided a vantage point for an overview of zek lives, a subject previously quite beyond reach. Biographies, events, and episodes kept unfolding before me one after the other."
Given these circumstances, it is hardly surprising that Solzhenitsyn came to look upon the writing of The Gulag Archipelago as an ineluctable moral duty, and went on to become the acknowledged chronicler of a nation's misfortune.
– By Natalia Solzhenitsyn, excerpt of introduction to Russian high-school edition of The Gulag Archipelago, translated by Alexis Klimoff, published in The New Criterion, Sept. 2012
Photo Gallery - 1942-53: War, Prison, Camp
Video Channel - View Film Adaptations of One Day (1963, 1970)
One Day in the Life of Ivan Denisovich exists in six English translations:
A. — Ralph Parker (New York: Dutton, 1963)
B. — Max Hayward and Ronald Hingley (New York: Praeger, 1963)
C. — Bela Von Block (New York: Lancer Books, 1963)
D. — Thomas P. Whitney (New York: Fawcett, 1963)
E. — Gillon Aitken (New York: Farrar, Straus and Giroux, 1971)
F. — H. T. Willetts (New York: Farrar, Straus and Giroux, 1991)
A through E are all based on an early censored version of the book and are not recommended. Only F is an authorized translation, based on the final uncensored version, and can be recommended. It is in print in hardcover, paperback, and e-book.
The definitive and authorized translation of One Day in The Life of Ivan Denisovich, by H.T. Willetts, was published in English in 1991 by Farrar, Straus and Giroux. Published again as recently as 2014, the Willetts edition is significantly superior to other available translations.
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Sex – The Infographics Show
Sex. Everyone wants it. Hollywood romanticizes it. But the reality is often much more complicated and much less glamorous than its depiction on the big screen.
Although most porn flicks will lead you to believe that a man's erect penis is about a foot long, the actual average length of a man's erect penis is 5-7 inches. That being said, 85% of women are happy with their partner's penis size, compared with only 55 percent of men who are satisfied with their own penis size.
The typical man thinks about sex once every 42 minutes and has about 11 erections per day. The typical woman thinks about sex once every 77 minutes. Men and women lose their virginity at about roughly the same time, with the Kinsey Institute estimating that the average age of first intercourse for guys is 16.9 and girls 17.4.
Shockingly, only 75% of men always reach orgasm while making love whereas a mere 29% of women report reaching orgasm through penetrative sex.
Outside of the bedroom, the most common place for adults in the U.S. to have sex is the car. One in four men switches the light off during sex and 70% of men refuse sex during their girlfriend's period.
Although the frequency of sex varies dramatically from couple to couple, almost 80% of married couples have sex a few times a month or more. 32% report having sex two to three times per week; 47% report having sex a few times per month.
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text:
Questions to the Authors
Wieniawski's Scherzo-Tarantella, op. 16: Structural designs for a synthesis between a tarantella and a scherzo?
← A forgery? And if so, by whom? On the closing bars in Mozart's Wind Quintet K. 452
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Posted on October 14, 2013 by gast
As noted in the Preface to the Henle edition of Henryk Wieniawski's Scherzo-Tarantella (HN 553), a violin and orchestra version of this work exists in an incompletely preserved photocopy of a lost autograph. This version was not published, and it presents a few notable material differences in comparison with the published violin and piano version. Unfortunately, no other autograph of the Scherzo-Tarantella has survived, and without documentation regarding Wieniawski's editing process, we could not consider the violin and orchestra version as a source for the violin and piano version.
Nevertheless, the violin and orchestra version is a valuable and interesting source. In particular, it can help us consider the compositional process of the Scherzo-Tarantella.
The main focus in this article concerns two musical features unique to the violin and orchestra version of Wieniawski's Scherzo-Tarantella. One is an extended introduction of twenty measures before the first solo entrance, and the other is the material accompanying the D major passages of the "Cantabile" section. An examination of these sections in terms of their musical structure, technical considerations for the pianist, and ensemble reveals elements that may show Wieniawski's compositional process and ideas. (Measure numbers differ between the two versions. For ease of comparison and discussion, all measure numbers in this article refer to the measure numbers as published in HN 553)
Some notable differences between the version for violin and piano and the version for violin and orchestra
In the autograph score of the violin and orchestra version, instead of "Cantabile" (at measure 271), the solo part is marked "Cantante," while, simultaneously, "Scherzando" is written above the staff of the first violins. Here, during the D major segments, the first and second violin parts present passagework based on material from the first tarantella section, with a particular focus on undulating triplets and the motive associated with the octave leaps. Notably, material from the passagework in the solo violin main tarantella theme is excluded. (See Ex. 1: Measures 271 to 278. To show as many of the layers and voices in as compact a form as possible, the examples below have been reduced to a violin and piano arrangement with minimal consideration for technical practicalities. The bowings are taken from the manuscript.)
Ex. 1: Measures 271 to 278
The repetition of the leaping motive leads smoothly into the likewise tarantella-inspired solo violin passage featuring octave leaps at measure 301 (marked grazioso in the violin and piano version while unmarked in the violin and orchestra version). (See Ex. 2: Measures 294 to 302.)
And after returning, in measure 317, to a "scherzando" similar to the one in the previous instance, the passage becomes more elaborate with arpeggiated chords in the strings. This leads into the chord-embellished octave leaps in the solo violin at measure 347. (See Ex. 3: Measures 341 to 350.) We can also note that in measures 343 to 346 the solo violin has a sustained open A string instead of octave doubling as found in the violin and piano version.
As for describing the extended introduction in the violin and orchestra version, it begins with a call and response type of interplay; the winds present octave leaps followed immediately by the strings responding with triplets. And what follows is a crescendo combining both the triplets and octave leaps, leading into the violin solo entrance. This is of course quite different from the very concise introduction found in the violin and piano version. (See Ex. 4: Opening of the violin and orchestra version.)
Ex. 4: Opening of the violin and orchestra version
What can the violin and orchestra version tell us?
We must keep in mind that we do not know whether the violin and orchestra version was written before or after the violin and piano version. In addition, since the violin and piano version is the only one that was published, from the standpoint of formulating a critical edition, it was clear that the differing features found in the violin and orchestra version should not be translated or merged into the piano score.
For the inquisitive performer or scholar, however, taking some time to consider these significant differences between the two versions can be worthwhile. They may point to Wieniawski's practical and/or artistic considerations toward each type of ensemble, and even to ideas about the conception of the composition itself.
Józef Wieniawski
Henryk Wieniawski
Until 1855, Henryk Wieniawski usually performed onstage with his very capable pianist brother, Józef. They had even composed together, resulting in an earlier opus, the Grand Duo Polonaise (op. 8 for Henryk and op. 5 for Józef). Therefore, either right up to or before the Scherzo-Tarantella, which was composed in 1855, it is most probable that the piano parts in Henryk's compositions had passed the critical judgment and pianistic preferences of Józef, who would be the one playing the piano.
Though there is no proof toward determining if the violin and orchestra version preceded the violin and piano version, it is certainly a possibility. The violin and piano version shows more detailed performance indications and several minor differences in the counterpoint and phrasing that can be viewed as improvements. And if we may take this hypothesis further, it is possible to consider that the violin and orchestra version was formulated when Henryk and Józef were still intending to perform together. Thus, it is possible that musical ideas in the violin and orchestra version were considered at one point to be translated into the piano part. This would have resulted in a substantially more prominent piano part compared to the violin and piano version that was eventually published.
In other words, the longer introduction at the opening and the intricate accompaniment material in measures 271 to 301 and measures 317 to 347 pose questions as to whether there was an intention at some early point to give Józef a piano part that would attract attention. This idea would not be unprecedented in Henryk's works. The Thème original varié, op. 15, for example, has several virtuosic piano passages in accompaniment of a violin melody and a restatement of the theme that attracts attention to the piano.
However, with the parting of careers with Józef, Henryk could have had the need to reconsider the longer introduction and potentially technically demanding and musically intricate Cantante / Scherzando episode. By the time the Scherzo-Tarantella was to be published in its violin and piano version, Henryk no longer had a constant pianist partner he could trust and depend on at every level, and this could have persuaded him to fashion the piano part of Scherzo-Tarantella with simpler demands. As much as this is completely speculative, it would offer a somewhat practical explanation for the much shorter and simpler introduction, and the Cantante (revised to Cantabile) re-envisioned in a more traditional format of melody with arpeggio accompaniment.
An episode fusing elements of both the Scherzo and Tarantella
Another idea, however, that has more far-reaching musical consequences rests on proof in the violin and orchestra version that Henryk had intended an episode fusing elements of both the scherzo and the tarantella within a framework of highlighting a beautiful violin melody. This brings many potential questions into focus, including what Wieniawski may have intended to convey with the title of Scherzo-Tarantella, and the depth of musical thought he invested in this showpiece.
As discussed with examples above, in the Cantante / Scherzando, the solo violin presents a lyrical melody while accompanied by a scherzo-like passage that recombines key elements from the opening tarantella. We can also note that it is done in much the same way here as in the introduction (of the same violin and orchestra version). Meanwhile, from a structural point of view, the Cantante / Scherzando is the second lyrical episode placed in the major (here, in D major) before returning to the tarantella in the home key of G minor. Structurally, therefore, the Cantante / Scherzando is placed in the most prominent position of the piece. We should consider that the varied repetition of the Cantante / Scherzando sequence (i.e. measures 271 to 301 and measures 317 to 347), as well as its intentional layered complexity, is further evidence that Wieniawski was conscious of the significance of this episode.
We can observe then, that both the violin and piano version and violin and orchestra version reflect the stylistic features of both a tarantella and a scherzo with its "trio section" contrasts. But only the violin and orchestra version attempts a simultaneous synthesis of the two genres. With the Cantante / Scherzando, Wieniawski demonstrates, at the heart of the piece, a literal realization of the title's promise.
The important question, of course, still remains as to why the violin and piano version does not include some form of this ingenious fusion of the scherzo and tarantella. Perhaps Wieniawski was not entirely satisfied with his ambitious experiment, or found it too unwieldy and fussy in the format of a violin and piano ensemble. The case could also be made that altering the Cantante / Scherzando into the Cantabile in the violin and piano version persuaded Wieniawski to reconsider its structural and musical relationship to the opening introduction. In other words, a musically simplified Cantabile could have been a factor in simplifying the introduction.
Finally, we cannot ignore the reality that Wieniawski did not publish the violin and orchestra version, and that the Scherzo-Tarantella as published in its violin and piano form was the version Wieniawski authorized for release to the public. Knowledge of the violin and orchestra version can only increase our appreciation of Wieniawski's depth of compositional thought and his acute powers of judgment and discretion. His decisions resulted in the well-known violin and piano version of Scherzo-Tarantella that we cherish today.
The article was written by Dr. Ray Iwazumi.
[wpaudio url="https://www.henle.de/blog/audio/Iwazumi_Usui_Wieniawski_ScherzoTarantella.mp3″ text="Henryk Wieniawski: Scherzo-Tarantella, op. 16 for violin and piano (Violin: Dr. Ray Iwazumi, Piano: Toshiki Usui)" dl="0″]
From the CD: Iwazumi & Usui Play Brahms, Debussy, Mozart, Wieniawski and Ysaÿe
This entry was posted in genesis, Monday Postings, piano + violin, Scherzo-Tarantella op. 16 (Wieniawski), versions, Wieniawski, Henryk and tagged HN 553, Scherzo-Tarantella, violin, Wieniawski. Bookmark the permalink.
4 Responses to »Wieniawski's Scherzo-Tarantella, op. 16: Structural designs for a synthesis between a tarantella and a scherzo?«
old violinist says:
Dear Mr Dr. Ray Iwazumi,
You fill in your publication copy of the first edition of Op. 16, which has a price on title page in "Mark" – Mk.
You may not know that the currency was changed after the German reunification. After 1873, Mark was introduced monetary unit. Your copy may not be the first edition of 1856.
Norbert Müllemann says:
Dear "Old Violinist",
Thank you very much for your astute comment.
Yes, the pricing of the first edition is a problem that remains a bit of a mystery. We have been trying to find other copies that might help us clarify the situation, but have not yet been successful in that regard.
The "Neugroschen" copy might indeed be the earlier copy, but as discussed in the "Comments: About this edition," there were minor differences in this edition which appear quite convincingly to be corrections made in relation to the copy priced in "Marks". So the pricing on the title page, even with the identical plate number "2180" which is associated with the first edition, might not actually be a reliable indicator showing the stage of the musical text inside the edition.
Please let me know if you have further questions on this.
Ray Iwazumi
thank you for your latest comment. We have been trying to get in touch with you via the email address you provide. Unfortunately the address does not work. May I ask you to send an email to me at Henle publishers (muellemann@henle.de). I will reply as soon as possible.
Norbert Müllemann
In the period from the earliest version of the print to which you have passed a dozen years. This gives the probability of a correction, which does not have to be from Wieniawski. Only the musical text analysis can confirm this.
I can help you. I have the earliest edition 16th edition of the work. I have other first editions, French and German editions, and one work (Op. 3) was published in three Kalisz (Poland).
If you're interested in editing the sources of H. Wieniawski, I would ask you for your email address. Or how can I make contact with you.
I have an authentic autograph and manuscript music of Wieniawski. Unknown version of the full score of Wieniawski Polonaise …. welcome.
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Newly recruited diplomats in Norway are being educated about the history of black metal as part of their training.
According to a report in Kerrang!, the Norwegian Foreign Service has educated 20 of its newest diplomats in black metal, its history and the perception it presents of the Scandinavian country.
Black metal has a turbulent history, with church burnings, murder and violent crime among the unpleasant associations with the genre.
The genre's most notorious occasion came in 1994, when Varg Vikernes, singer in black metal band Burzum murdered Øystein Aarseth, singer of fellow band Mayhem. He was released from prison in 2009.


text:
Q: dispatch_group_wait with GCD So I'm posting an array of images to my server. I want to use GCD to post the array asynchronously, but I also want to make the method in which this happens synchronous so that I can pass back a single response object. However the method dispatch_group_wait seems to be returning immediately (and not waiting for my blocks to finish). Is this an issue because I'm using a block within a block?
NSArray *keys = [images allKeys];
__block NSMutableDictionary *responses = [NSMutableDictionary dictionaryWithCapacity:[images count]];

dispatch_group_t group = dispatch_group_create();
dispatch_queue_t queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
for (int i = 0; i < [keys count]; i++) {
    __block NSString *key = [keys objectAtIndex:i];
    dispatch_group_async(group, queue, ^{
        [self postImage:[images objectForKey:key] completionHandler:^(ServerResponse *response){
            @synchronized(responses){
                if ([response succeeded]) {
                    NSString *value = [[response data] objectForKey:@"image_token"];
                    [responses setObject:value forKey:key];
                    NSLog(@"inside success %@",responses);
                } else {
                    NSString *error = response.displayableError;
                    if (!error) {
                        error = @"Sorry something went wrong, please try again later.";
                    }
                    [responses setObject:error forKey:@"error"];
                    [responses setObject:response forKey:@"response"];
                }
            }
        }];
    });
}
dispatch_group_wait(group, DISPATCH_TIME_FOREVER);
dispatch_release(group);

I want to simply wait for all of the [self postImage] methods to callback from the server and modify the responses dictionary.

A: Jonathan's semaphore example is on target.  However, I mentioned using a condition variable as an alternative, so I thought I'd at least post an example.  In general, a CV can be used to wait on more general conditions other than just N workers.
Note that condition variables have their place (though not necessarily here), usually best when a lock is already necessary to mutate shared state, then other threads can just wait for a specific condition.
NSUInteger numKeys = [keys count];

NSConditionLock *conditionLock = [[NSConditionLock alloc] initWithCondition:numKeys];
dispatch_queue_t queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
for (NSUInteger i = 0; i < numKeys; i++) {
    __block NSString *key = [keys objectAtIndex:i];
    dispatch_async(queue, ^{
        [self postImage:[images objectForKey:key] completionHandler:^(ServerResponse *response){
            // Basically, nothing more than a obtaining a lock
            // Use this as your synchronization primitive to serialize access
            // to the condition variable and also can double as primitive to replace
            // @synchronize -- if you feel that is still necessary
            [conditionLock lock];

            ...;

            // When unlocking, decrement the condition counter
            [conditionLock unlockWithCondition:[conditionLock condition]-1];
        }];
    });
}

// This call will get the lock when the condition variable is equal to 0
[conditionLock lockWhenCondition:0];
// You have mutex access to the shared stuff... but you are the only one
// running, so can just immediately release...
[conditionLock unlock];

A: Without seeing the code for -postImage:completionHandler:, it's hard to say where things are getting scheduled, but I'm assuming they call through to something provided by iOS. If so, the handler blocks inside your block are dispatched to the global queue asynchronously, and then iOS-supplied function or method is returning immediately. As far as your dispatch group is concerned, the work is done almost instantly.
There's no easy way to get the group to wait for work that isn't already scheduled by the time to call to dispatch_group_wait() is made. However, we can add a lower-level thingamajigger called a semaphore that ensures our actions complete in the right order, and schedule it outside the scope of the inner (asynchronous) blocks.
NSUInteger numKeys = [keys count];

dispatch_group_t group = dispatch_group_create();
dispatch_queue_t queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
for (NSUInteger i = 0; i < numKeys; i++) {
    __block NSString *key = [keys objectAtIndex:i];
    dispatch_group_async(group, queue, ^{
        // We create a semaphore for each block here. More on that in a moment.
        // The initial count of the semaphore is 1, meaning that a signal must happen
        // before a wait will return.
        dispatch_semaphore_t sem = dispatch_semaphore_create(1);
        dispatch_semaphore_wait(sem, DISPATCH_TIME_FOREVER);
        [self postImage:[images objectForKey:key] completionHandler:^(ServerResponse *response){
            ...
            // This instructs one caller (i.e. the outer block) waiting on this semaphore to resume.
            dispatch_semaphore_signal(sem);
        }];

        // This instructs the block to wait until signalled (i.e. at the end of the inner block.)
        dispatch_semaphore_wait(sem, DISPATCH_TIME_FOREVER);

        // Done with the semaphore. Nothing special here.
        dispatch_release(sem);
    });
}
dispatch_group_wait(group, DISPATCH_TIME_FOREVER);
// Now all the tasks should have completed.
dispatch_release(group);

There's a problem here though. Semaphores are a kernel resource. What if we have 100 tasks to perform, but the kernel can only supply 99 semaphores? Bad Things™ happen. We can rebuild the code to use only one semaphore, though waiting for it will appear a bit wonky. Doing so actually obviates the dispatch group entirely, by the way, so we're essentially replacing the group with the semaphore. Let's watch!
NSUInteger numKeys = [keys count];

// set the count of the semaphore to the number of times it must be signalled before
// being exhausted. Up to `numKeys` waits will actually wait for signals this way.
// Additional waits will return immediately.
dispatch_semaphore_t sem = dispatch_semaphore_create(numKeys);
for (int i = 0; i < numKeys; i++) {
    dispatch_semaphore_wait(sem, DISPATCH_TIME_FOREVER);
}

dispatch_queue_t queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
for (NSUInteger i = 0; i < numKeys; i++) {
    __block NSString *key = [keys objectAtIndex:i];
    dispatch_async(queue, ^{
        [self postImage:[images objectForKey:key] completionHandler:^(ServerResponse *response){
            ...;

            // This decrements the semaphore's count by one. The calling code will be
            // woken up by this, and will then wait again until no blocks remain to wait for.
            dispatch_semaphore_signal(sem);
        }];
    });
}

// At this point, all the work is running (or could have already completed, who knows?).
// We don't want this function to continue running until we know all of the blocks
// have run, so we wait on our semaphore a number of times equalling the number
// of signals we expect to get. If all the blocks have run to completion before we've
// waited for all of them, the additional waits will return immediately.
for (int i = 0; i < numKeys; i++) {
    dispatch_semaphore_wait(sem, DISPATCH_TIME_FOREVER);
}
// Now all the tasks should have completed.
dispatch_release(sem);

A: Yes as has been stated, dispatch_group_wait() is not waiting because the postImage:completionHandler: call seems to be asynchronous. And if you REALLY need this block of code to execute synchronously then a semaphore or lock would seem to be an appropriate solution.
If, however you just want to collect all of the responses to one dictionary for processing, I believe that the most appropriate solution is to use GCD to it's full extent. And to use a dispatch queue to manage the mutable dictionary; This seems to be the solution preferred by apple in most of the documents I have seen.
The crux of the solution is to essentially transfer ownership of the mutable dictionary to a single queue and then only modify it from that queue. The 'ownership' I refer to is not object ownership in the memory management sense, but ownership in the right to modify sense.
I would consider doing something like this:
NSArray *keys = [images allKeys];
// We will not be reasigning the 'responses' pointer just sending messages to the NSMutableDictionary object __block is not needed.
NSMutableDictionary *responses = [NSMutableDictionary dictionaryWithCapacity:[images count]];
// Create a queue to handle messages to the responses dictionary since mutables are not thread safe.
// Consider this thread the owner of the dictionary.
dispatch_queue_t responsesCallbackQueue = dispatch_queue_create("com.mydomain.queue", DISPATCH_QUEUE_SERIAL);

for (NSString *key in keys) {
    // This async call may not be needed since postImage:completionHandler: seems to be an async call itself.
    dispatch_async(dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0), ^{
        [self postImage:[images objectForKey:key] completionHandler:^(ServerResponse *response){
            dispatch_async(responsesCallbackQueue, ^{
                [responses setObject:response forKey:key];
                // Perhaps log success for individual requests.
                if (responses.count == keys.count){
                    NSLog(@"All requests have completed");
                    // All responses are available to you here.
                    // You can now either transfer back 'ownership' of the dictionary.
                    dispatch_async(dispatch_get_main_queue(), ^{
                        [self requestsHaveFinished:responses];
                    });
                }
            });
        }];
    });
}


All participants in the DYLAX program, including players, parents, coaches, spectators, and referees, are expected to behave according to the Darien Youth Lacrosse Association's Code of Conduct (available on the DYLAX website). Along the same lines, it is expected that any conflicts that arise between participants will be resolved by applying both the letter and the spirit of the Code of Conduct, keeping in mind that the adult members of the program are viewed by the younger members as leaders, role models, and problem solvers.
The Board of DYLAX recognizes, however, that there may be rare instances when these conflicts cannot be satisfactorily resolved directly by the parties to the dispute or through the informal intervention of another program member. For those situations (and it is anticipated that they will very rarely occur), the Board has instituted a formal Grievance Procedure. All members should be aware that the Grievance Procedure IS NOT a substitute for direct conflict resolution between the parties; it is a secondary procedure to be employed only in the unlikely event that the parties cannot amicably and responsibly resolve their dispute through direct communication.
1. A grievance may be lodged by any member of the DYLAX program for any suspected violation of the DYLAX Code of Conduct or for any suspected violation of local, state or federal law.
2. A valid grievance must be in writing, using the Darien Youth Lacrosse Association's Grievance Form (attached), and must explain the nature of the grievance, the circumstances surrounding the alleged violation, and the specific provision(s) of the Code of Conduct alleged to have been violated. The person filing the grievance must also identify all witnesses or other persons with knowledge of the alleged violation.
3. A valid grievance must be signed by a parent, coach or player and submitted to the appropriate program Vice President (i.e., Girls or Boys).
4. No grievance will be accepted from any person who fails to file the written grievance within two weeks of the incident in question.
5. No grievance will be accepted from any person who himself or herself has not complied with the Code of Conduct, including the rule requiring a 24-hour "cooling off" period prior to speaking to a coach or DYLAX official about the incident in question, or has engaged in any threatening, abusive or harassing conduct, including verbal abuse.
6. No grievance will be accepted that seeks to challenge a coaching decision. For purposes of this provision, a coaching decision includes, but is not limited to, travel team selection, playing time, position assignments, starting assignments and lacrosse strategy. Playing time guidelines can be found under the "Boys Program" and "Girls Program" tabs on the Home Page of the DYLAX website.
7. Details of the grievance are not to be discussed with anyone other than the party(ies) directly involved with resolving the grievance.
8. Upon receipt, the program Vice President will review the grievance and determine, in consultation with the DYLAX Counsel, whether the grievance will be accepted or rejected. The person filing the grievance will be notified promptly whether the grievance has been accepted or rejected.
9. If the grievance is accepted, the Vice President will thoroughly investigate the incident and attempt to resolve the grievance with the parties amicably.
10. In the event that the Vice President is unable to resolve the grievance to the satisfaction of the parties, the grievance will be turned over to a Sportsmanship Liaison Officer appointed by the Board to monitor Code of Conduct compliance.
11. The Sportsmanship Liaison Officer will evaluate the facts and circumstances surrounding the alleged Code of Conduct violation, conduct any further investigation he or she may deem necessary, and issue a recommendation to the Executive Council of the DYLAX Board for resolving the grievance.
12. The Executive Council may accept the recommendation of the Sportsmanship Liaison Officer or may decide that it is in the best interests of DYLAX to resolve the matter in any other manner approved by a majority of the members of the Executive Council.
13. Decisions of the Executive Council are final and will be communicated in writing to the grieving party(ies).
14. It is anticipated that the process will take between two to three weeks from the time the grievance is filed to the time a final decision is rendered by the Executive Council, assuming all parties are prompt and forthcoming in providing the necessary information. In the event of concern for physical safety, a more expedited process will be implemented.


Finding the most current and helpful jewelry information is not always the easiest thing to do. There is so much information available on the internet that you may soon be conflicted as to which information will be of use to you. You are in luck. Here you will find some of the best jewelry tips available.
When purchasing jewelry it is important to keep in mind for whom you are buying it, unless it is for yourself. You may really love a certain piece but the person you are buying it for my loathe it. So carefully consider the person it will be for, and then make your decision.
Save your cash and forgo the designer pieces, these add an estimated 80% more to the price tag. Local jewelers or chains offer products that are exactly comparable to luxury retailers and are more likely to give you financing offers or seasonal promotions.
Don't use toothpaste to clean your jewelry. There are countless websites out there claiming that toothpaste is a great way to clean jewelry. Fine jewelers will tell you otherwise. The abrasives in toothpaste can damage the surface of metal and will permanently ruin soft stones such as turquoise, amber and lapis.
If you love making jewelry, don't neglect "found" items in your designs! You can use all kinds of interesting tidbits to add flair and originality to your creations. For example, vintage buttons can make some very nice earrings! If you're into kitch, a collectible soda pop cap can make a cute pin! Be open-minded and creative to craft handmade treasures that will really stand out!
Continuing to learn and grow is imperative to personal success, no matter what the subject may be. Now that you are more properly educated about jewelry, you can look forward to greater levels of success. Keep these tips in mind, and you can be confident in any jewelry decisions you make.


text:
Home News & Analysis Governance Philippines market regulator revises corporate governance code
Philippines market regulator revises corporate governance code
But revision from the country's SEC falls short of ICGN recommendations
Carlos Tornero
The Philippines' Securities and Exchange Commission (SEC) has announced that the country's reviewed corporate governance code entered into force on January 1 – though it has fallen short of some of the recommendations issued by the International Corporate Governance Network (ICGN).
The revised code requires listed companies to submit to the SEC a manual covering corporate governance policies by May 31, 2017. The observance of its provisions is based on a comply or explain basis.
In a joint statement the SEC and the International Finance Corporation (IFC), which has sponsored the code's review, said the aim has been "to improve the functioning of boards, strengthen shareholder protection and promote full disclosure in financial and non-financial reporting."
Both organisations also noted that the new code will increase the responsibilities of the board and ensure the competence and commitment of its directors.
The IFC, part of the World Bank Group, stated that its support has been provided in partnership with the State Secretariat for Economic Affairs of Switzerland, as well as Philippine government and regulatory bodies.
"Improved corporate governance will make Philippine companies more competitive and enhance their ability to attract foreign capital," said Jane Yuan Xu, IFC Philippines Country Manager.
SEC Chairperson Teresita J. Herbosa added that the reviewed code aims at raising corporate governance standards of Philippine listed companies "to a level on par with its regional and global counterparts".
The code review is the result of a stakeholder consultation in which ICGN took part. While widely welcomed by international and national stakeholders, the code could have gone further in its reforms should ICGN's all observations had been taken onboard.For example, in its comment letter to the consultation dated October 2016, the ICGN noted that the draft code strengthened board independence requiring three (or 1/3) independent board directors.
The ICGN expressed that this was a step in the right direction, particularly appropriate for some controlled companies.
However, the ICGN argued that there could be scope for greater independence standards:
"The [draft] code does not address companies that might be widely held, in which case a majority independence requirement is the norm. While dispersed share ownership is not the Philippine model, it is important to appreciate that majority board independence is regarded highly in many jurisdictions globally as a best practice."
In addition, based on domestic market feedback, the ICGN identified ongoing concerns about the effectiveness of independent board representation in the Philippines which could be offset with stronger shareholder rights.
The ICGN singled out three areas of potential concern to minority shareholders relating to shareholders' rights:
· Related party transactions over a defined materiality threshold should be subject to a vote of minority shareholders, requiring approval by the majority of minority shareholders.
· Pre-emption rights should prevent excessive dilution on new capital issuances.
· Differential ownership rights, voting rights in particular, should be strongly discouraged, if not avoided. It is a means to entrench controlling owners and erode accountability to minority shareholders.
Their inclusion in a company's articles of association could help to deal with potential conflicts between controlling and minority shareholders, according to ICGN's letter. The reviewed code doesn't seem to have adopted this approach either. Full text of the code.


text:
Kushner Companies hit with subpoena in federal rent-control probe
By Andrew Keshner
Trump adviser and son-in-law Jared Kushner's family business was hit with federal grand jury subpoenas in March, a new report revealed. (Mark Wilson/Getty Images)
A Brooklyn federal grand jury has reportedly subpoenaed the real estate company run by Jared Kushner's family for information on housing documents the company filed with New York City.
The Wall Street Journal said the subpoena was sent to Kushner Companies in the middle of last month.
It came after an Associated Press report that revealed the company had stated in more than 80 permit applications it had no rent-regulated tenants in its buildings when it actually had hundreds of them.
The company has said the applications were outsourced to third parties and the incorrect information were "mistakes or typographical errors," which were corrected as soon as possible.
A Kushner Companies rep told the Journal on Thursday that the company "has nothing to hide and is cooperating fully with all legitimate requests for information, including this subpoena."
According to the spokeswoman, "we believe that this subpoena, which has already been complied with, was issued based solely on an article that appeared in the press the day before it was issued."
Kushner Companies under-reported the number of rent-regulated tenants living in its properties, previous reports revealed. (Drew Angerer/Getty Images)
A Brooklyn U.S. Attorney spokesman said he couldn't confirm or deny any subpoena or probe.
Others are looking into the tenant paperwork, including the city Department of Buildings and the New York State Attorney General's office.
The subpoena adds to the Kushner Companies' issues that are reportedly under federal scrutiny.
The Journal previously reported that regulators and Brooklyn federal prosecutors are eying the company's use of a certain visa program.
Prosecutors are also allegedly looking into a $285 million loan from Deutsche Bank just before the 2016 election.
Latest U.S.
SEE IT: Florida man wearing nothing but bra burglarized several cars


National Geographic counts the study in the Geneva University Hospital HUG on the effect of music in premature babies on the 12 most important innovations worldwide!
Break the silence: How drawing and painting, making music or dancing promote convalescence.
Ein Tag im Zeichen der Kreativität, mit Vorträgen, Workshops, Führungen und Erfahrungsaustausch.
Art, music and dance therapists are there in twelve Swiss hospitals for the young patients.
Generous patrons and many private donors make the innovative therapy programs possible.


This excellent resource will provide a theoretical background to moving & handling to ensure that care workers understand the reasons, both practical and legal, behind safe moving principles.
This title will provide a solid informational backdrop to further moving & handling training. This title is filmed in a real working care home and includes new animated sequences to illustrate the potential risks of poor manual handling practice to the health of both care workers and individuals receiving support.


But here came a problem. My xWindowId is 0 and as a result, gstreamer shows video in a separate window.
So, why it is 0?
We should understand, what happens when we create and show our widget.
realize - is that stage when our widget gets resources assigned to it by X Window system.
map - is that stage when our widget appears on screen.
Aha, so we need to wait until our drawing area gets realized.
Fortunately, Gtk::Widget (and Gtk::DrawingArea inherits it), has signal_realize().
So, the solution is obvious, connect this signal to a slot, which will ask Gtk::DrawingArea for its XID and set it with gst_x_overlay_set_xwindow_id.
That's it, now gstreamer will show the video in our drawing area, just like we need.


text:
https://www.barrons.com/articles/why-diversity-on-financial-advisory-teams-is-gaining-greater-appreciation-51595025002
Why Advisory Teams of the Future Will Be More Diverse
Karen Hube
United Asset Strategies (Felicia Lebow); Gluck Group (Courtesy); Merrill Lynch (Courtesy)
The future of the wealth management industry lies with teams—groups of individuals working together—as opposed to sole proprietors. And research shows that the best financial teams are those that exhibit diversity.
According to a November 2019 study from the CFP Board, "Why Diversity Matters," greater diversity on financial-planning teams "leads to stronger sales revenue, customer growth, greater market share, and higher profit levels." The CFP study and others like it find that teams with blended backgrounds, cultures, and perspectives are less likely to approach issues with preconceived notions that can cloud judgement and impede innovation. Such teams tend to arrive at creative solutions to problems and also have higher levels of employee satisfaction and retention. Diverse teams also have the advantage of appealing to a wider range of potential clients, which is important, the CFP notes, because, "people of color will collectively become the majority of the U.S. population in 2045, based on census projections."
Sallie Krawcheck, CEO and co-founder of Ellevest, discusses what Wall Street can do to confront gender and racial inequality. Plus, State Street's Emily Weis on opportunities in emerging markets.
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A 2015 research paper from McKinsey, also titled "Why Diversity Matters," examined diversity at 366 public companies and reached conclusions consistent with those in the CFP research. The study found that companies in the top quartile for gender or racial and ethnic diversity are more likely to have financial returns above their national industry medians, while those in the bottom quartile are statistically less likely to achieve above-average returns. The McKinsey study noted that the correlation of diversity and financial performance doesn't equal causation. But, it "does indicate that when companies commit themselves to diverse leadership, they are more successful."
A third bit of research, detailed in the Harvard Business Review's 2018 article, "The Other Diversity Dividend," examined diversity's effect on the venture-capital industry, which, like wealth management, is "staggeringly homogeneous." (Only 8% of the venture-capital investors are women, about 2% are Hispanic, and less than 1% are black.) HBR's research found that diversity "significantly improves financial performance on measures such as profitable investments at the individual portfolio-company level and overall fund returns." It also noted that homophily—the tendency of people to associate mainly with people who are like themselves—is a force that can "lead investors and firms to leave a lot of money on the table."
Follow the links below to look at three advisory teams that exhibit the sort of diversity that positions them for increasing success in the future.
How Merrill Lynch's Judith Lee Is Using High-Quality Munis to Generate Income With Less Risk
There Are Still Values in Technology and Health Care. How J.P. Morgan's Tracy Gluck Finds Them.
Diversity Enhances an Advisor's Offerings. Just Ask the Head of United Asset Strategies.
Email: editors@barrons.com
The future of the wealth management industry lies with teams—groups of individuals working together—as opposed to sole proprietors.


text:
Dorieus () ist in der griechischen Mythologie ein Sohn des Neoptolemos und der Leonassa. Väterlicherseits war er folglich ein Enkel des Achilleus, mütterlicherseits war er ein Ur- oder Ururenkel des Herakles.

Er ist einzig bei dem um 200 v. Chr. schreibenden Mythographen Lysimachos genannt, der als Namen der Mutter Leonassa angibt. Üblicherweise heißt die Gemahlin des Neoptolemos hingegen Lanassa.

Dorieus war laut Lysimachos Buder oder Halbbruder des Eraos, des Pergamos, des Argos, des Pandaros, des Eurymachos, der Danaë und der Troas.

Literatur

Anmerkungen

Person der griechischen Mythologie

redpajama_set_name: RedPajamaWikipedia


Asynchronous learning is an instructional design and delivery methodology that allows students to access content or participate in learning outside of the classroom and at their convenience, or independent of the instructor. Considered an alternative to live, or synchronous delivery of content, it is also referred to as e-learning, on-demand or self-paced learning. Asynchronous learning often requires a learning technology (such as an LMS/LCMS) for access to content, although technologies are not necessary for self-study.