insurance claims for assigned clients.
On a daily basis, researches and corrects denials received for assigned clients.
Documents all correspondence with patients, insurance carriers and clients.
Receives payments from patients via phone or in-person.
Other duties as assigned. Requirements Education: High School Diploma or GED equivalent required.
Experience: One year experience in medical billing preferred.
Work Schedule: Varies, depending on business needs.
Manual dexterity using standard office equipment.
Minimum lifting requirements of 20 pounds.
1.Knowledge of medical billing processes.
2.Knowledge of health care insurance claim practices and compliance.
3.Knowledge of computer systems, programs and spreadsheet applications.
1.Skill in gathering and reporting claim information.
3.Skill in use of multiline phone system.
4.Skill in written and verbal communication and customer relations.
2.Ability to maintain confidentiality of business / work information.
3.Ability to utilize available resources to update patient account information.
Oversee the daily operations of the Patient Financial Services Department. Supervise the billing team by engaging with and guiding them by using our core values, policies, standards, and best practices.
The supervisor is accountable for ensuring staff is performing proper collection and account follow-up with both patients and third parties.
This position is responsible with providing the Director accurate source statistics outlining performance improvements to assist in the reduction of the Accounts Receivable.
Responsible for establishing continued education with staff to ensure operational effectiveness. This is achieved through audit and performance monitoring.
The supervisor is expected to have a basic understanding of each staff member's payer and work flow. Ability to identify areas of opportunity and implement new processes to achieve optimal performance and maximum revenue reimbursement.
Requires excellent interpersonal skills in interactions with all levels of hospital staff, patients, and all levels of payer representatives.
Support staff duties in their absence while still maintaining their own daily obligations.
Associates Degree or equivalent experience in business/healthcare administration, preferred.
Licenses/Certifications: American Association of Healthcare Administrative Management (AAHAM) preferred.
Four to five years of progressive leadership/supervisory experience in a healthcare setting is required.
Understanding and comprehension of Medicare, Medicaid, Commercial and third party payers billing process (Precertification, charge entry, EMR, coding, billing, and follow-up including denials management).
Accounting, healthcare, and general office procedures.
Full comprehension of UB04 and 1500 billing form requirements.
Knowledge and comprehension of Maryland reimbursement and regulatory environment so as to ensure compliance with patient billing issues.
Operating general office and communication equipment. Including personal computers, networks, copiers, fax machines, and software based systems.
Knowledge of and functionality with a computerized billing system, preferably Meditech.
Work Schedule: Varies, depending on the needs of the department.
Ability to lift a minimum of 20 pounds. Mobility is needed; extensive walking, standing or sitting may be required, as well as occasional reaching, standing, and bending.
Excellent interpersonal, critical thinking, analytic, organizational and negotiating skills are required.
Ability to communicate effectively and participate in all meetings to include all levels of hospital staff.
Possess leadership and mentoring skills to provide support to their team.
Ability to organize, interpret, complete financial applications, insurance verification, billing, and collection processes within acceptable time frames. This includes renewals of all payer enrollments.
Ability to prioritize schedule in order to meet urgent deadlines, while maintaining professionalism at all times, is required.
Ability to understand, interprets, evaluates, and resolves all customer complaints.
Perform accurately with attention to detail within specific time frames.
Handle frequent interruptions and to adapt to changes in workload.
Northrop Grumman Innovation Systems is currently seeking a Principal Configuration Analyst to join our team of qualified, diverse individuals. This position is located in Elkton, Maryland.
The Northrop Grumman Innovation Systems Propulsion Systems and Controls (PS&C) facility in Elkton, Maryland began solid-propellant rocket operations in 1948. Today, the Elkton PS&C facility designs, develops, and produces solid-propellant propulsion and ordnance systems in programs professionally managed for a wide variety of Government and commercial customers. The facility also serves as the hub for offsite engineering and test facilities in Ronkonkoma, NY, Palm Beach Gardens, FL and San Jose, CA.
Review contractual CM requirements and ensure they are obtainable.
Create and implement program CM plans and tailor strategies accordingly to customer technical data package requirements for the lifecycle of the product.
Ensure configuration identification and product structure are established, and properly translate requirements to the Product Lifecycle Management (PLM) system, Enterprise Resource Planning (ERP) system, Manufacturing Execution System (MES), and Quality Management System (QMS).
Manage and assist in the change management process for engineering and manufacturing outputs and their related products throughout the lifecycle.
Provide accurate configuration status accounting and traceability for documented information during engineering design, development, and manufacturing.
Assist and configure configuration audit and verification documentation.
Manage and control program documentation.
Northrop Grumman Innovation Systems is currently seeking a Cyber Info Assurance Analyst 1 / Cyber Info Assur Analyst 2 for our Elkton, Maryland location.
Perform assessments of systems and networks within the networking environment or enclave and identify where those systems and networks deviate from acceptable configurations, enclave policy, or local policy. This is achieved through passive evaluations such as compliance audits and active evaluations such as vulnerability assessments. Establishes strict program control processes to ensure mitigation of risks and supports obtaining certification and accreditation of systems. Includes support of process, analysis, coordination, security certification test, security documentation, as well as investigations, software research, hardware introduction and release, emerging technology research inspections and periodic audits. Assist in the implementation of the required government policy (i.e., NISPOM, DCID 6-3), make recommendations on process tailoring, participate in and document process activities. Perform analyses to validate established security requirements and to recommend additional security requirements and safeguards. Support the formal Security Test and Evaluation (ST&E) required by each government accrediting authority through pre-test preparations, participation in the tests, analysis of the results and preparation of required reports. Document the results of Certification and Accreditation activities and technical or coordination activity and prepare the system Security Plans and update the Plan of Actions and Milestones POA&M. Periodically conduct a complete review of each system's audits and monitor corrective actions until all actions are closed.
2 years of experience in system administration/desktop support.
Related industrial/ cybersecurity security experience.
U.S. Citizenship and must be able to maintain a Secret security clearance.
5 years of experience in system administration/desktop support with a Bachelor's degree or 3 years of experience with a Master's degree.
Possession of DoD 8140 (DoD 8570) compliant certification (Security , GSEC, CISSP, etc…) and completion of appropriate USG-sponsored (DOD, DNI, etc.) ISSO/ISSM training courses desired.
Knowledge of RMF and NISPOM Chapter 8 practices desired.
Northrop Grumman Innovation Systems is currently seeking a Test Engineer / Principal Test Engineer for our Elkton, Maryland office.
The Northrop Grumman Innovation Systems Missile Defense and Controls (MD&C) facility in Elkton, Maryland began solid-propellant rocket operations in 1948. Today, the Elkton MD&C facility designs, develops, and produces solid-propellant propulsion and ordnance systems in programs professionally managed for a wide variety of Government and commercial customers. The facility also serves as the hub for offsite engineering and test facilities in Ronkonkoma, NY, Palm Beach Gardens, FL and San Jose, CA.
Under broad direction, develop system testing scope, plan and estimates in collaboration with QA. Evaluate and recommend changes and/or tools to improve processes.
Works with cross functional, multi‐discipline test teams. Interfaces with technicians, customers, vendors and management teams to resolve problems.
Participates/leads test execution, and resolving problems/failures.
Reviews and evaluates test results and provides summary reports.
Works directly with energetic test arrangements in the field and provides onsite electrical/instrumentation troubleshooting support.
Perform Integrated Product Team (IPT) Test membership role.
Provides expertise and field support in the setup and execution of instrumentation and data collection systems.
Knowledge of network setup and administration desired.
2 years of experience with a Bachelor's degree or 0 years of experience Master's Degree in Aerospace, Electrical, Software or Computer Engineering .
Familiarity with Visual Basic, C , Matlab applications, test and drawing programs, and statistics is necessary.
Must have good communication skills and be able to write and deliver presentations.
5 years of experience with a Bachelor's degree or 3 years of experience with a Master's Degree or PhD.
Experience with Visual Basic, C , Matlab applications, test and drawing programs, and statistics is necessary.
This position falls under a Federal Explosives License issued by the Bureau of Alcohol, Tobacco, Firearms and Explosives (ATF) for this location. Candidates hired into this role will be required to complete and submit an Employee Possessor Questionnaire to ATF for approval to be a possessor.


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You need to trust your work
Words and photos: Michalina Kuczyńska
Michalina Kuczyńska: You said that you knew from the beginning that you are not going to study photography in Poland. Why?
Natalia Poniatowska: I was 13 when I started attending a film photography course in the Młodzieżowy Dom Kultury in Bytom. I stayed there till I was 18, learning all the basics, optics, how the cameras work and how to work in the darkroom as well. I fell in love with photography. As a teenager, it was kind of an escape from all the problems, all that's going on in your head at that time, a great amount of emotions while growing up. I was very active in the art scene in my hometown – when I was 16 I managed to organise my first solo exhibition, next year I won WENA – the prize for visual arts.
At the end of high school, I did my research about art schools in Poland, and I figured out that I wouldn't be accepted to ASP, Polish Academy of Fine Arts unless I can learn to draw and paint as a main part of curriculum over there and all other courses were connected to press photography. Maybe now there are some options, but usually, the private courses cost a lot as well. Straight after high school, I left Bytom with my boyfriend and decided to work as a full-time waitress in Birmingham. I earned enough for a new DSLR and started working as a test shoot photographer and building up my commercial portfolio. We spent a year working and thinking about what is to come. He read about The Glasgow School of Art online as being one of the leading UK art schools, we did some research, especially about finances – EU students don't pay tuition fees in Scotland, and decided to apply. Firstly, even before being accepted I did a black and white photography evening course to keep practising and preparing my portfolio and kept working as a commercial and event photographer. We were extremely lucky to secure our spot in GSA the next year. With no student loan – I worked as an event, family, wedding and fashion photographer all 4 years of my study at the Glasgow School of Art, balancing my art career with commercial jobs.
Let's talk about the exhibitions- in Poland and abroad.
I always feel like – in terms of art – my base is more in Glasgow because people are more familiar with my work, seen my degree show, they are interested in what I'm doing and keep an eye for my new projects. I left Glasgow a year ago, after having spent 7 wonderful years there. It's different for me in Warsaw, as everything is new. I'm really amazed by the art scene here, but I have a feeling it's kind of tricky If you're not represented by Polish gallery. I experienced that as a freelance artist, without the knowledge and insight into a certain community, there's some kind of a barrier. I have a plan to bring my current show HUMANATURE from Glasgow to Warsaw, which would become my first solo show here.
So the basic difference is…
…is that in Poland you have to work harder, because there is a very high standard but at the same time, quite often the expectations do not really meet the reality in a sense that there is not a lot of places where you can still get good platform to present your work but in a more approachable sense. We have a lot of great artists and shows here. Also, it is an issue of scale I guess. Glasgow is way smaller, so It's easier to know the places. In Warsaw, especially when you just enter the art scene, you need to do more and offer more. What could I give to the city, what could my work bring here? I's not easy to start in the new place.
And how about support the exhibitions? Could you compare both countries?
I think they are similar because in both countries there are institutions where you can apply for the funding. I never applied for funding and I didn't have a solo show in Warsaw, so I might not be the right person to answer the question.
Okay, so how do you make a living from art?
I haven't met a person yet that makes a living purely based on artistic activity. Unfortunately, that is usually not the case regarding the young generation of artists.
But you are! (laughs)
I make money for living only from commercial photography – fashion, portraits, products, events, weddings. True, I do sell my artworks, but the money always goes back into making new works, test printing, printing, framing, buying films, developing, scanning, Photoshop, equipment, insurance, shipping, not talking about funding projects like traveling to places I would like to make a work, and of course a cost of studio hire. These are really big expenses.
Could you tell me something about public cultural institutions in Poland and Scotland?
Not really as I was never really that much interested in working with those. Or maybe that time has not come yet where I need to activate that route as well. I am not great in terms of filling out the forms etc., and usually, such institutions require quite a lot of such work, rather than focusing on the work itself and its value.
So you're more like self-made?
Yeah, definitely. When I know what I need for a project, I just try to work towards it and do it somehow. It has always worked out so far, but we will see how it goes when there are bigger tasks coming in the future.
I think overall, it's just very difficult to be a photography artist because you have to be so tough and strong and leave your fragility behind… As an artist or commercial freelancer, you are on your own. That's why a lot of people give up. They feel comfortable when they are students – with tutors, friends, access to facilities. But when you leave the art school, that's when it starts to become difficult because none of the schools neither in Scotland or Poland tells you what to do after. They don't teach you about marketing, agreements, taxes, contacts with galleries, clients, all the business side of being self-employed.
Maybe it's also about the society's conscious – that being an artist is also a work and you have to make a living.
Right, most of society doesn't really pay attention to that. Especially photographers –because the truth is you don't pay for the pictures as a physical object… you're paying for certain individual's vision of the world that was captured on its work of art, for the creativity, artist's education, skills, knowledge, research, inspirations… I believe artists are respected, but not fully understood how does it work to be an artist. I didn't know this years ago either. I think we're not as respected as we should be in the commercial world, but I do understand why – there are so many photographers who just buy a good camera and shoot weddings or portraits, with no vision, with no passion, no feelings, let alone with no skillset as well.
To sum up: maybe we should do something about the awareness connected with art?
I think the problem starts in primary school with art as a subject. I had such a big disrespect for art in school because "art" teacher was an old lady sitting behind her desk and asking us to draw a flower that looks exactly like the one she drew. 45 minutes once a week for 6 years? No visits to museums, no conversations about understanding the works or feelings. While studying in Glasgow with international students I found a huge gap in art knowledge and art history. The biggest shock for me in art school was also non-formal relations, teachers are more like friends and we talk a lot about emotions, feelings and we really get to know each other, I was understood as a person, so it was easier to present and talk about my art ideas. Someone cares about your thoughts and feelings and it was far away from what I received in high school.
I think here we came to the point!
Natalia Poniatowska
'It is enough that I come from a country that lies east of the west and west of the east'
Sławomir Mrożek
I am an observer. Through digital and analogue photography, still and moving images, I explore the potential ground that exists between fine art and documentary photography. Drawing inspiration from various conditions of the reality around me, from the great interest in the modern, dynamic art scene but also from my personal experiences, I believe in the power of images to convey the emotions, truths and challenges of the modern reality. Having spent the majority of my life away from my motherland, I often return to the theme of homesickness and belonging in my artwork.
My approach to picture making is to present ordinary, non-idealised, never staged reality. Such practice is the formulation of interest in things as they are. By using only one lens which is the most similar to a human field of view, I am capturing the moments and non-moments that drag my attention. I am a sentimental and nostalgic artist and the camera is the best tool to anchor oneself to memories and emotions that are constantly fleeting.
My work starts with a strong interest in the moment, light or a situation. The process of looking begins before taking a photograph and continues afterward. Selecting pictures, printing, making connections, framing or setting up an exhibition space, all of it seems connected to the way of seeing. I immerse myself in the medium fully and utterly.
Natalia Poniatowska graduated from Fine Art Photography at The Glasgow School of Art. Natalia displayed her works in various locations: Royal Scottish Academy – New Contemporaries 2019 in Edinburgh, The National Museum in Cracow, 12 Star Gallery in London, ARCHIP in Prague, House For An Art Lovers in Glasgow, Orms in Cape Town, 5&33 Gallery in Amsterdam, Pingyao International Photography Festival in China, The Waterhouse Gallery in Maastricht, Lillie Art Gallery in Milngavie, citizenM in Glasgow, and more.
She received the Adam Bruce Thomson Award 2019, the British Journal of Photography Breakthrough Award 2017, Debuts 2018, Grand Press Photo 2018, Wena 2012, and she was selected as one of 15 best graduates in creative fields by It's Nice That in 2018.
Natalia grew up in the industrial realm of the Silesian region in the Southern part of Poland (Bytom) and after 7 years in Scotland, she recently moved to Warsaw, Poland.
Michalina Kuczyńska – Observer of the world and the people. Sensitive human mostly interested in catching moments and seeing things as they are. Student of the inter-area studies in Katowice and also a lover of a widely understood modern
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Boy, we have another great passage from one of Paul's letters as our reading today. Come to think of it, they all are great passages.
For today, let's focus on the first part of the reading. In verse 1 Paul urges all of us to live a life worthy of God's calling. With God's help we are His representatives on earth. As His representatives, as outlined in verse 2, we are to be humble, gentle, patient, understanding, and peaceful. People watch the way we live our lives. When they watch can they see Christ in you? Can they see Christ in me? Do we demonstrate the characteristics of a representative of Christ? Do others see in us a life that they want to lead? This is an awesome responsibility but one we should undertake with our whole heart.
Paul goes on to say, "there is one body". Of course Paul is talking about unity among Christians. Unity does not just happen, we have to work at it. Differences among people can lead to division, but this should not happen in the church. Instead of focusing on our differences, we should focus on what unites us - one body, one Spirit, one hope, one Lord, one faith, one baptism, one God. This is extremely hard to do, but we are called to learn to appreciate people who are different. We are called to see their different gifts, talents, and abilities, and encourage them to use their attributes to strengthen God's church. It is very easy to hang out with people who are like you. If we learn to appreciate people who are different, we will find hanging out with them is rewarding too, and as we all know, it is difficult to encourage someone you don't hang out with.


A comparison of the two types of yarn we use.
A rug to use outdoors or that you can machine wash... olefin is the best choice.
Otherwise, either yarn will work in your home.
For most customers, the decision comes down to which design they like best. Both yarns balance softness and durability incredibly well, but wool is a bit softer and olefin is more durable.
If you still have questions or would like a sample of each yarn to compare, don't hesitate to call us (704-434-2495) or email us at [email protected]. You can also request samples of the rugs you're interested in by clicking the "Free Sample" tab when viewing a rug.
What is each yarn made of?
A synthetic carpet yarn (similar to what you might find in your home). It's specifically dyed for use in our braided rugs and undergoes a softening process.
100% pure wool dyed here in the United States. Like our olefin, the yarn is specifically manufactured for use in braided rugs.
Which yarn will last longer?
Olefin. Wool is an organic material that will eventually break down over time. Olefin is a synthetic fiber and has a virtually limitless shelf life. Both rugs, however, will enjoy a very long life (decades at least; some of our rugs have been in use for generations!).
Longevity mostly depends on where the rug is placed in the home and specifically how much daily traffic and wear and tear it endures.
Which yarn is best for pets?
Olefin. Wool is a more delicate yarn, and we've found that animal toenails can pick at the threads. If you decide on a wool rug, we strongly recommend you use it only with declawed animals or keep the rug outside your pet zones.
Yes. Olefin is completely hypoallergenic. Wool is not. If you suffer from a wool allergy or are sensitive to textiles made from wool-like materials, olefin is the best choice.
Do you mix the yarns?
No. Your rugs will be made entirely from olefin or entirely from wool. We also use yarn in the core of our rugs (never paper or other fibers).
Is there a price difference between the two?
Wool rugs cost about 25% more than olefin (wool yarn costs us more and shipping is slightly higher).
NOTE: All olefin rugs are priced the same (no matter what design you choose). Wool rugs are also all priced the same (regardless of design).
If you still have questions or would like a sample of each yarn to compare, don't hesitate to call us (704-434-2495) or email us at [email protected].


September 29, perhaps better known among VFW members as VFW Day, has gained much deserved recognition, extending far beyond the VFW community.
The recently passed resolution, H.Res.483, officially introduced to the U.S. House of Representatives as Supporting the Goals and Ideals of Veterans of Foreign Wars Day was first introduced in May of 2009 by Rep. John Kline, life member of VFW Post 210. With 62 cosponsors in support of the resolution, it took only forty minutes of debate before the resolution was agreed to by voice vote.
An excerpt from the resolution reads: Whereas the members of the Veterans of Foreign Wars celebrate the organization's establishment and achievements on September 29th while carrying on the vital mission of their predecessors: Now, therefore, be it Resolved, That the House of Representatives supports the goals and ideals of Veterans of Foreign Wars Day.
The VFW was established September 29, 1899, when a small group of Spanish-America war veterans banded together to create one voice on behalf of all American veterans. Though the founders of this phenomenal organization are no longer with us, the strength and legacy they left behind has endured for the past 110 years.
The VFW Operation Uplink program reached 3 million free calls home given to deployed troops.
The VFW Unmet Needs program reached $3 million dollars in financial assistance, disbursed to more than 2,000 military families nationwide.
VFW military assistance program hosted 259 military support events including welcome home and farewell ceremonies and involved more than 300,000 service members and their families. Attendance at these events increased 38% over last year.


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Four of The Apocalypse • 1h 44m
Uncut. Uncensored. Unseen For Over 25 Years! The Legendary Blood-Soaked Western from the Director of ZOMBIE.
Having survived a vigilante slaughter, four hard-luck strangers - gambler Stubby Preston (Fabio Testi of THE BIG RACKET), a pregnant prostitute (Lynne Frederick of SCHIZO), the town drunk (Michael J. Pollard of BONNIE AND CLYDE) and a madman who sees dead people (Harry Baird of THE OBLONG BOX) - escape into the lawless frontier.
But when they meet a sadistic bandit named Chaco (Tomas Milian of RUN MAN RUN), the four are plunged into a nightmare of torture, brutality and beyond. In a land that screams with the pain of the damned, can four lost souls find redemption and revenge?
Due to its graphic violence, FOUR OF THE APOCALYPSE was banned or censored in many countries and never seen in America. Meanwhile, fans - and director Lucio Fulci himself - considered it to be one of the greatest films of the maestro's career.


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Q: Matrix exponential for $A=\begin{pmatrix}A_{11} & A_{12} \\ 0 & A_{22}\\ \end{pmatrix}$ The entries of the A matrix are all square matrices. Does any one know how to find an expression for the corresponding exponential matrix?

A: If $$A = \begin{bmatrix} A_{11} & A_{12} \\ 0 & A_{22}\end{bmatrix},$$
it is known that $$e^A=\begin{bmatrix} e^{A_{11}} & F_{12} \\ 0 & e^{A_{22}}\end{bmatrix},$$
where
$$F_{12} = \int_0^1 e^{(1-u)A_{11}}A_{12}e^{uA_{22}}\, du.$$
Citation: Pade approxiation for the exponential of a block triangular matrix, by Luca Dieci and Alessandra Papini, Linear algebra and its applications , $308 (2000), 183-202.$ Equation $(1.3).$

redpajama_set_name: RedPajamaStackExchange


Get ahead today and book from the menu. All you need to do is click it.
Our team of fully qualified mortgage specialists are here to guide you through your lending options to make sure your loan aligns with your overall investment goals and strategy. We work with all the major banks and lending institutions and cut through all the fine print and terminology to find a residential or commercial loan that works for you.
Our team of fully qualified financial planners can help you navigate the superannuation world and help with all aspects of superannuation including general advice, rollovers, new accounts, salary sacrificing, pensions and spousal contributions. We also specialise in all aspects of self managed super funds (SMSF) including structure, set up and investment options.
Our advisers provide recommendations across the full range of investments from Managed Funds, ETFs and shares, to developing a personalised portfolio specific to clients' risk profiles.
Retirement planning is an integral part of every successful wealth strategy, regardless of age and financial position. Our team is experienced in providing retirement planning solutions with advice across pensions, Centrelink benefits, aged care options and implications, plus the transition to retirement.
Every successful investor has one thing in common; good risk management. When it comes to creating wealth through property and other investments, you need to have a sound risk management process in place to ensure your assets are protected at all times. We specialise in risk management solutions across myriad insurances including life, TPD, trauma, landlord insurance and income protection. Overwhelmed by which insurances you need? Don't worry, we can help you sort out what you need and what you can do without.
Our R&D team are leading property specialists who crunch the numbers and statistics to produce our clients with premium property investment opportunities in key locations around the country. They do all the hard research work because that's what they're good at. It gives our clients peace of mind knowing that investment options are provided after a rigorous and stringent research process by dedicated professionals who know what they are doing.
Our property management company manages a very large property portfolio on behalf of our investors to ensure we get great tenants and maximum returns with minimum fuss. We know what it takes to be a successful property investor, and having an efficient property management team to protect and best manage your investment is crucial. Our team of property managers go above and beyond to ensure your biggest asset is protected, nurtured and maximised.


You must collect cards to form one of ten winning combinations. The more complicated the combination, the higher the corresponding payout. The game is played using the standard deck of 52 cards. Four sevens in the deck are marked as "Wild".
At the top of the videopoker's screen is a table of the winning combinations and the corresponding payouts.
Lower down the screen is the place where the player's cards are dealt.
At the bottom of the screen are three indicators showing the player's credit balance ("Credits"), the winning sum for the last combination ("Payout") and the current bet in tokens ("Coins").
The game is played with tokens worth 5, 10, 25 or 50 cents or 1, 2, 5, 10 or 15 dollars (or your account's currency). The maximum number of tokens is 5.
The player can adjust the value of the tokens before each game by pressing the "-" and "+" button, having the current balance of the player's tokens recounted ("Credits" indicator). By pressing the "Bet One" button, the player can increase the bet by one token.
Having pressed the "Bet Max" button, the player can increase the bet to the maximum (five tokens). After that the cards will be dealt automatically.
Having placed his bet, the player presses the "Deal" button and receives his cards. Having looked at his cards, he must decide which of them to keep and which to exchange in the hope of strengthening his hand. For example, if all or some of the cards he has been dealt form a winning combination, or part of one, it is worth keeping these cards and hence increasing the probability of a win.
Click on the appropriate card or on the corresponding "Hold" button beneath the card to hold it. When all the necessary cards have been held, click the "Change" button and the machine will change the remaining (non-held) cards.
In the event of a winning combination the size of the winnings depends on the combination. Both the combination and the corresponding winnings light up on the payout table at the top of the machine. The winnings will then be added to the player's account.
The table below shows all possible winning combinations. The payoffs for these combinations are stated in the videopoker's payout table and may differ depending on the number of tokens inserted.
Five of a Kind Five cards of the same value.
Full House "One Pair" plus "Three of a Kind"
When playing with Wilds player might receive a card marked "Wild" which can be used to represent any other card in the deck, like a Joker. If, thanks to the wild card, the player is able to form more than one winning combinations he is credited with the most valuable combination.
Please note, that when playing with both wild cards and Jokers, the former can not substitute for Jokers.


Hi Sarah, thanks for stopping by TD Helps. We'll be glad to provide you with more information on overdraft protection. Standard Overdraft Protection Service is a discretionary service which may allow you to overdraw your account. With this service, there is no set amount that you will be able to overdraw your account. That information is based off of not only how long you've been a TD Customer, but also your relationship and history with TD as well. Please note the amount you are able to overdraw is subject to change daily. For more details on the Standard Overdraft Protection, as well as other forms of Overdraft Protection please check out: http://bit.ly/1lx9Xko. If you have any additional questions feel free to contact us 24/7 at 888-751-9000 or visit a TD Store. For a listing of TD locations check out: http://bit.ly/TDStores. We hope this information is helpful. Enjoy your evening.


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Colbie Caillat & Justin Young Split
Singer Colbie Caillat, 34, and fiancé Justin Young, 41, have called it quits after 10 years together.
On Thursday night, the couple broke the news that they are no longer engaged. In a statement, Colbie said, "This is difficult for us to share, but we want to be honest with you all. After 10 wonderful years, Justin and I have ended our relationship. We started out as best friends and we will continue to be best friends. And we will continue to work and make music together, as we always have."
"It will be hard, but often times the hard choice is the right choice and the path that will allow each of us to move forward and to grow," Caillat continued. "We continue to be overwhelmed with gratitude for our love and time together."
Justin shared the same statement from his point of view.
In September, Colbie celebrated their decade-long relationship. She wrote on Instagram, "10 years ago today (hot damn) on an afternoon in Paris @justinkawikayoung wrote me a cute n cheesy little note asking me to be his girlfriend, I circled yes 😊📝🗺 check out those dreads."
Last year, Caillat told People magazine that they didn't "want to have a wedding." She explained, "We just are going to spontaneously elope in the future. We've been together for almost 10 years. We're just happy with the way things are and we're just cruisey about it."
The split comes nearly five years after he popped the question. At the time, Colbie posted a pic, writing on Instagram, "This sweet man asked me to be his lobster….and I said yes 🙂#colbieandchristina."
Colbie and Justin began dating while he was her guitarist. She told Billboard in 2011, "He was the guy who warms me up and talks with the band, so we had to work together more than we ever had. And all of a sudden I noticed I would change my outfit a few times before I would rehearse with him, and I would get butterflies when he would walk on the tour bus or when he'd talk to me or anything like that. We eventually talked about it, and then we started dating."
She added, "We feel very lucky that we get to go on tour with each other rather than other people who have to leave their significant others at home. It's really special. It's like having your best friend everywhere with you. Other people are like, 'How do you do it? I'd want a break' and whatever. I guess we just have that kind of bond. We actually enjoy doing it."
Young inspired many of Colbie's songs from her "All of You" album. She shared, "When I was writing, I wasn't going through heartache. I was going through being in love, but there were times where we were having little rough areas in the relationship and trying to figure them out and not give up — which is what I used to do in relationships. So I think maybe just the older I've become, and writing with amazing writers, I've learned about how to write from a different perspective."
#ColbieCaillat #HookupsAndBreakups


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This News Post
The DoubleReds Story
Nominal Roll
Men of the 2/2
Remembering Berta Martins
By Rob Crossing
Some historic photos were recently provided to us by Domingos De Oliveira. Domingos was just six years old when B Platoon of the 2/2 Commandos stayed in his village of Fatu-Makerek during the Japanese occupation in WWII. Domingos's father, Antonio dos Santos Oliveira, was the village chief of Fatu-Makerek.
During the Indonesian occupation of East Timor, Domingos was a member of UDT (União Democrática Timorense) and involved in resistance against the occupation.
In 2014, Domingos kindly accepted an invitation from the association to bear the unit's banner at the Anzac Day march. He is pictured below, holding the banner. On the right in the foreground is the 2/2 veteran, the late Keith Hayes OAM.
Keith, who survived the ration truck massacre on 20 February 1942 when the Japanese invaded East Timor, acknowledged that he would not have survived the events of that day if not for the help given to him by Mrs Berta Martins. The story of the ration truck massacre can be seen here.
The photo below of Mrs Berta Martins with three children was taken in Dili. The small boy was Panta Leao, who was killed when the Indonesians invaded in 1975.
The group photo with Mrs Berta Martins, below, was taken after one of the young girls in the photo has had her first holy communion. At that time Mrs Martins was living in Bemori-Dili.
I thank Domingos for these photos and remind friends and members of the association that you, too, can upload content to our website.
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GrogHeads Interview with Designers of GMT's "A Distant Plain"
GrogHeads recently conducted an interview with the designers of A Distant Plain by GMT and wanted to share it with everyone.
GrogHeads.com has an interview with Volko Ruhnke and Brian Train, the designers of GMT's upcoming game about Afghanistan, "A Distant Plain".
Additionally, the gents have agreed to stick around and ask some questions in the forums afterwards.


At any time, somewhere around the globe something magnificent is happening. We can put you in the right place at the right time to be an eye-witness.
Our extensive experience and research has shown us that there is always something amazing happening in the natural world.
Landscapes dramatically transform, wildlife migrates in flocks and herds of thousands, and endearing baby animals take their first steps in the outside world.
Most commonly, when we think of the word 'migration', our minds picture thousands of wildebeest storming the plains of Kenya and Tanzania, crossing croc-infested rivers with hungry predators watching in wait. While this is one of mother natures most grandiose events, it is not the only migration in the world, or even in Africa. In fact, the world's largest mammal migration takes place in the wild Bangweulu wetlands of Zambia featuring an incredible eight million fruit bats as they arrive from the Congo.
Further north in the Canadian Arctic you can spot polar bear cubs emerging from their snowy dens, seeing the world for the first time under the watchful eye of their mothers. Being there to see their playful antics as they explore the outside world for the first time is an incredible once in a lifetime experience.
The Great Wildebeest Migration - the birthing - For anyone in search of a wild, apres-Christmas adventure to see something great - well you're in luck. Despite not being one of the best known times for viewing wildebeest, it is one of the most fascinating. January to February marks 'the birthing', a short window of time in which the wildebeest give birth to their young, all 400,000 of them.
Polar Bear Mother & Newborn Cubs - Heading towards Arctic territory, March is one of the most amazing times to visit the north. This is when you can see the polar bear cubs leaving their dens for the very first time. Nothing compares to seeing these amazing predators as cubs, playing out in the snow with their mother, finding their feet having only ever seen the inside of their snowy den. They leave their den and explore the area, learning the ways of the world before heading out for hunting season.
The Northern Lights - Polar bears aren't the only reason to head north at this time of year, as the northern lights around Churchill can be magnificent. These dancing natural lights brighten the sky and reflect on the crystals of snow and ice on the ground. It's no wonder they inspire such amazing stories about other worlds. The northern lights are also great between October and November, another great time to combine them with a polar bear safari.
It's is no secret that April, May and June are wonderful times to travel, a time that universally symbolises the start of new life. Combine your holiday with the Easter bank holidays for a longer time away. Rather than focusing on seasonal chicks and bunnies, celebrate the following events.
Narwhal Migration - If prefer your marine life with sword-like tusks, then best head up to Arctic Canada for some polar bear and narwhal spotting. In June the narwhal are migrating to their summering grounds and, being creatures of habit, we can get you in the right place at the right time to see them as they venture north, not just see them, but swim with these amazing unicorns of the sea.
Great Sardine Run - In South Africa mid-May is the start of the sardine run, which is amazing opportunity to swim, snorkel and dive as predators such as sharks, eagles and dolphins graze on the tasty fish. Travelling in densely packed groups that can be as long as 7 kilometres, the glistening mass attracts some of the most amazing marine and bird-life around.
The summer months in the northern hemisphere, July to September, are an exciting time in the natural world.
The Great Wildebeest Migration - the river crossing - July marks the wildebeest crossing the great Mara River in the hopes of making it to the green grasses of the Masai Mara. These river crossing are famous around the world for the dramas that unfold that including a cast of crocodiles, wildebeest, zebra, lion and much more.
Okavango Delta Flooding - Meanwhile, the Okavango Delta in Botswana is starting to flood, breathing new life into the plains as animals arrive in their thousands to feast on the nutrient-rich flood-plains.
Great Elephant Gathering - Moving on to Asia, August marks the dry season in Sri Lanka and the start of the largest Asian elephant gathering known to exist on the planet.
The Salmon Run - Further north, in Alaska and British Columbia, Canada, the salmon run occurs between July and September, an amazing time to spot grizzly bears fishing and even walk with them on foot. Also in Canada at this time of year you can see the impressive caribou migration with the opportunity to walk within just metres of these peaceful animals.
Bat Migration - In Zambia, the largest mammal migration known starts mid-October and involves eight million straw-coloured fruit bats squeezing into the Kasanka plains to feast on delicious, brightly coloured fruits. This cloud of puppy-sized bats departs each evening to find food in a huge mass, then returns each morning to sleep upside down, hanging from trees so thickly that branches snap, causing a myriad of commotion in the bat world. On the red island of Madagascar this is the perfect time to see the adorable and iconic ringtail lemurs with their young. These brave lemurs seem unafraid of humans, allowing you to get close and witness these wonderful, young lemurs as they interact with their mothers and the rest of the group.
The Northern Lights - In the extreme north at this time, you have an excellent opportunity to see the northern lights (aurora borealis). This magnificent light show seems more prolific at this time due to the near constant dark and clear skies that allow them to beam through. This is best combined with a polar bear safari because, well, polar bears and the northern lights together are just incredible.
Emperor Penguin Migration - travelling further south all the way to the White Continent of Antarctica, the emperor penguins are preparing their chicks for their first voyage to the sea. The chubby chicks are spoilt with food and so unfamiliar with human presence that they have no reason to be afraid, in fact it is not unusual for one to come up to you for a closer inspection. Although the famous 'March of the Penguins' is actually in March, the best time to see the penguins is earlier in the season, as they prepare but before they start to march to the sea.


text:
Q: Spring boot makes warning log HttpMessageNotWritableException from the reason that might come from WebSocket I made a message system using Spring-Websocket. There was no errors and warnings in dev. However, it made some warnings in prod.
2022-10-17 13:24:32.894  WARN 1 --- [nio-8080-exec-9] .w.s.m.s.DefaultHandlerExceptionResolver : Resolved[org.springframework.http.converter.HttpMessageNotWritableException: No converter for [class java.util.LinkedHashMap] with preset Content-Type 'application/javascript;charset=UTF-8']

I don't know where, what, when, how this warning made from so I researched on google and found only one person asked simillar question
Spring boot stomp server gives warning for resolved org.springframework.http.converter.HttpMessageNotWritableException
The answer is not really helpful for me so I decided to change log level to trace and found all most same logs with the logs in the above post.
I noticed that this warnings might come from the send event. If the message is sent to closed session, DispatcherServlet gets a INCLUDE type dispatch for post request "/error". As far as I know, Spring has a BasicErrorController bean that takes "/error" request and that controller handles two types of mapping that one for html, the other for others. The error goes not html one, and that makes a response body using DefaultErrorAttributes which returns LinkedHashMap.
To confirm, I extended BasicErrorController, overrided the error method and added log.
@Slf4j
@Controller
@RequestMapping("${server.error.path:${error.path:/error}}")
public class DefaultErrorController extends BasicErrorController {
    public DefaultErrorController(ErrorAttributes errorAttributes,
                                 ServerProperties serverProperties,
                                 List<ErrorViewResolver> errorViewResolvers) {
        super(errorAttributes, serverProperties.getError(), errorViewResolvers);
    }
    @Override
    @RequestMapping
    public ResponseEntity<Map<String, Object>> error(HttpServletRequest request) {
        log.error(request.getRequestURI());
        log.error(request.getDispatcherType().name());
        HttpStatus status = getStatus(request);
        if (status == HttpStatus.NO_CONTENT) {
            return new ResponseEntity<>(status);
        }
        Map<String, Object> body = getErrorAttributes(request, getErrorAttributeOptions(request, MediaType.ALL));
        return new ResponseEntity<>(body, status);
    }
}

I got logs.
2022-10-18 15:35:51.400 TRACE 1 --- [io-8080-exec-19] o.s.web.servlet.DispatcherServlet        : "INCLUDE" dispatch for POST "/error?t=1666074896571", parameters={t:[1666074896571]}, headers={masked} in DispatcherServlet 'dispatcherServlet'
2022-10-18 15:35:51.400 TRACE 1 --- [io-8080-exec-19] s.w.s.m.m.a.RequestMappingHandlerMapping : 2 matching mappings: [{ [/error]}, { [/error], produces [text/html]}]
2022-10-18 15:35:51.400 TRACE 1 --- [io-8080-exec-19] s.w.s.m.m.a.RequestMappingHandlerMapping : Mapped to c.b.w.c.exception.DefaultErrorController#error(HttpServletRequest)
2022-10-18 15:35:51.400 ERROR 1 --- [io-8080-exec-19] c.b.w.c.e.DefaultErrorController         : /socket/works/endpoint/694/ksn1ppli/xhr_streaming
2022-10-18 15:35:51.400 ERROR 1 --- [io-8080-exec-19] c.b.w.c.e.DefaultErrorController         : INCLUDE
2022-10-18 15:35:51.401  WARN 1 --- [io-8080-exec-19] .w.s.m.s.DefaultHandlerExceptionResolver : Resolved [org.springframework.http.converter.HttpMessageNotWritableException: No converter for [class java.util.LinkedHashMap] with preset Content-Type 'application/javascript;charset=UTF-8']
2022-10-18 15:35:51.401 TRACE 1 --- [io-8080-exec-19] o.s.web.servlet.DispatcherServlet        : No view rendering, null ModelAndView returned.
2022-10-18 15:35:51.401 DEBUG 1 --- [io-8080-exec-19] o.s.web.servlet.DispatcherServlet        : Exiting from "INCLUDE" dispatch, status 200, headers={masked}

My guess is that the socket error somehow has to response application/javascript;charset=UTF-8.
The Spring's default converter MappingJackson2HttpMessageConverter does not have application/javascript;charset=UTF-8 mime type to convert that response. That's why the warning is made.
I tried to solve it by adding some codes to BasicErrorController.
@Slf4j
@Controller
@RequestMapping("${server.error.path:${error.path:/error}}")
public class DefaultErrorController extends BasicErrorController {
    public static final String SOCKET_ERROR = "xhr_streaming";

    public DefaultErrorController(ErrorAttributes errorAttributes,
                                  ServerProperties serverProperties,
                                  List<ErrorViewResolver> errorViewResolvers) {
        super(errorAttributes, serverProperties.getError(), errorViewResolvers);
    }
    @Override
    @RequestMapping
    public ResponseEntity<Map<String, Object>> error(HttpServletRequest request) {
        //added
        if(request.getDispatcherType().equals(DispatcherType.INCLUDE)
                         && request.getRequestURI().endsWith(SOCKET_ERROR)) {
            return new ResponseEntity<>(null, HttpStatus.NOT_FOUND);
        }
        HttpStatus status = getStatus(request);
        if (status == HttpStatus.NO_CONTENT) {
            return new ResponseEntity<>(status);
        }
        Map<String, Object> body = getErrorAttributes(request, getErrorAttributeOptions(request, MediaType.ALL));
        return new ResponseEntity<>(body, status);
    }
}

The warning disappeared.. but next day, I checked logs and surprisingly found another warning
2022-10-19 09:32:36.485  WARN 1 --- [io-8080-exec-18] .w.s.m.s.DefaultHandlerExceptionResolver : Resolved [org.springframework.http.converter.HttpMessageNotWritableException: No converter for [class java.util.LinkedHashMap] with preset Content-Type 'text/event-stream;charset=UTF-8']

I want to know which class decides the content type for response from send event error and how to solve it.


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text:
Armenian National Committee of America
888 17th Street, NW, Suite 904, Washington, DC 20006
Tel. (202) 775-1918 * Fax. (202) 775-5648 * Email.anca@anca.org
Contact: Elizabeth S. Chouldjian
"SYSTEM OF A DOWN" LAUNCHES CAMPAIGN FOR ADOPTION OF GENOCIDE RESOLUTION
Grammy-Nominated, Multi-Million CD-selling Band Calls on Congress to Pass Genocide Prevention Legislation
WASHINGTON, DC – System Of A Down, the alternative-metal band that has been among the sharpest critics of U.S. government complicity in Turkey's denial of the Armenian Genocide, launched a nation-wide campaign today calling on their fans and supporters to ask Congress to pass legislation recognizing the Armenian Genocide and reaffirming America's resolve to prevent future genocides, reported the Armenian National Committee of America (ANCA).
The legislation (H.Res.193 and S.Res.164) commemorates the U.S. implementation of the Genocide Convention and specifically calls for the lessons of the Armenian Genocide, the Holocaust, and Cambodian and Rwandan genocides to be applied by the U.S. government in helping to prevent future genocides. The Bush Administration, despite a February 2000 campaign promise by then candidate George W. Bush that he would recognize the Armenian Genocide, has formally opposed the measure and is seeking to block its adoption solely on the grounds that it specifically references the Armenian Genocide.
In a letter sent today to hundreds of thousands of System fans, band member Serj Tankian noted that, "Whether it's the Holocaust in Germany, the Killing Fields in Cambodia or the Armenian Genocide, one thing that all crimes against humanity have in common is the abuse of religion, race, or cultural differences as an excuse to exterminate a whole group or nation of people." He then asked the band's supporters to "Please join myself along with Daron, Shavo, and John in sending these postcards to Senate Majority Leader Bill Frist and Speaker of the House Dennis Hastert to encourage them both to take a firm stand against the unspeakable horrors of Genocide."
To take part in this Printable Postcard campaign:
1) Visit www.anca.org/anca/SOAD
2) Print out two postcards on a home or office printer
3) Sign, stamp, and mail
"System consistently and powerfully reaches a vast American audience, engaging them on human rights issues and inspiring them to demand that their government respect the truth and work for justice," said Aram Hamparian, Executive Director of the ANCA. "The band's outreach has been unprecedented in educating literally millions of their fans about the Armenian Genocide, Turkey's denial of this crime, and – closest to home – our own government's ongoing complicity in the Turkish government's shameful cover-up."
This internet campaign is running parallel to the ANCA's distribution of "hard-copy" postcards to Armenian American households around the nation. Both programs were made possible through the financial support of System Of A Down.
The Genocide resolution was introduced in the Senate in June by Senators John Ensign (R-NV) and Jon Corzine (D-NJ). Its companion House measure, led by Representatives George Radanovich (R-CA), Adam Schiff (D-CA), and Congressional Armenian Caucus Co-Chairs Frank Pallone (D-NJ) and Joe Knollenberg (R-MI), was adopted unanimously by the House Judiciary Committee in May and has 111 cosponsors. Support for these measures has been widespread, with a diverse coalition of over 100 ethnic, religious, civil and human rights organizations calling for their passage, including American Values, National Organization of Women, Sons of Italy, NAACP, Union of Orthodox Rabbis, and the National Council of La Raza.
The text of Serj Tankian's letter is provided below:
It's an honor to communicate with you, not just about things having to do with System Of A Down, but also aboutings that have a deep importance to humanity and the reason for our existence.
Whether it's the Holocaust in Germany, the Killing Fields in Cambodia or the Armenian Genocide, one thing that all crimes against humanity have in common is the abuse of religion, race, or cultural differences as an excuse to exterminate a whole group or nation of people.
We are at a time in history when we can no longer afford to deny the occurrence of such atrocities or be passive about allowing such crimes to take place again. We need to mobilize our hearts.
Please join myself along with Daron, Shavo, and John in sending these postcards to Senate Majority Leader Bill Frist and Speaker of the House Dennis Hastert to encourage them both to take a firm stand against the unspeakable horrors of Genocide.
Please take a moment to download, print and mail these postcards to Congress.
Please click here:
www.anca.org/anca/SOAD


text:
Common names: Vasey's grass
Paspalum urvillei (Vasey's grass) is a perennial grass (family Poaceae) that can grow up to 6 feet tall found in the Central Valley and central and south coast ranges of California. It is native to South America. It favors grasslands and riparian and bottomland habitat. It spreads by seed and by rhizome. The seeds are dispersed by wind, water, animals, vehicles, machinery and in contaminated soil.
Cal-IPC Rating: Watch
CDFA Rating: None?
Explanation of CDFA ratings
A – A pest of known economic or environmental detriment and is either not known to be established in California or it is present in a limited distribution that allows for the possibility of eradication or successful containment.
B – A pest of known economic or environmental detriment and, if present in California, it is of limited distribution.
C – A pest of known economic or environmental detriment and, if present in California, it is usually widespread.
D – An organism known to be of little or no economic or environmental detriment, to have an extremely low likelihood of weediness, or is known to be a parasite or predator.
Q – An organism or disorder suspected to be of economic or environmental detriment, but whose status is uncertain because of incomplete identification or inadequate information.
* – An asterisk next to the rating indicates that a plant is included in the CCR Section 4500 list of California State Noxious Weeds.
-* – This plant is included in the CCR Section 4500 list of California State Noxious Weeds, but is otherwise not rated.
Assessment(s)
Plant Risk Assessment - An evaluation of the potential for a plant to be invasive in California.
Weed Management Notes
No Weed RIC Management Notes are available for this species. Check for information on other species in the genus on the Weed RIC site.
Cal-IPC Newsletter Articles
There are no newsletter articles associated with this species yet.
Cal-IPC Symposium Presentations
Presentations are linked where available. Where a presentation is not available, find more information by reading the abstract in the Cal-IPC Symposia Archive.
Regional EDRR with Bay Area WMAs. Johnson, Doug; Valentine, Nicole (2022)
Other Paspalum urvillei Information
CalPhotos - Images of plants taken mostly in California.
Calflora - Distribution map and records of this species in California.
CalWeedMapper - Distribution map of this species in California with ability to determine regional priorities.
EDDMapS - Distribution of this species in North America.
Jepson Interchange - Information on this plant's taxonomy, biology, and distribution from UC Berkeley's Jepson Herbarium.
USDA PLANTS Database - Information on identification and distribution, with links to websites in individual states.
Paspalum urvillei (Vasey's grass) inflorescence. Photo: © 2006 Tom Cochrane
Paspalum urvillei (Vasey's grass) leaf. Photo: © 2006 Tom Cochrane
Paspalum urvillei (Vasey's grass) growth habit. Photo: © 2006 Tom Cochrane


text:
<?xml version="1.0" encoding="UTF-8"?>
<!--  Copyright (C) 2008 The Android Open Source Project

     Licensed under the Apache License, Version 2.0 (the "License");
     you may not use this file except in compliance with the License.
     You may obtain a copy of the License at

          http://www.apache.org/licenses/LICENSE-2.0

     Unless required by applicable law or agreed to in writing, software
     distributed under the License is distributed on an "AS IS" BASIS,
     WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
     See the License for the specific language governing permissions and
     limitations under the License.
 -->

<resources xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:xliff="urn:oasis:names:tc:xliff:document:1.2">
    <string name="exchange_name_alternate" msgid="5772529644749041052">"Microsoft Exchange ActiveSync"</string>
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    <string name="meeting_tentative" msgid="8250995722130443785">"Projet de réunion : <xliff:g id="SUBJECT">%s</xliff:g>"</string>
    <string name="meeting_canceled" msgid="3949893881872084244">"Réunion annulée : <xliff:g id="SUBJECT">%s</xliff:g>"</string>
    <string name="meeting_updated" msgid="8529675857361702860">"Mise à jour : <xliff:g id="SUBJECT">%s</xliff:g>"</string>
    <string name="meeting_when" msgid="2765696159697448656">"Date : <xliff:g id="WHEN">%s</xliff:g>"</string>
    <string name="meeting_where" msgid="5992367535856553079">"Lieu : <xliff:g id="WHERE">%s</xliff:g>"</string>
    <string name="meeting_recurring" msgid="3134262212606714023">"Date : <xliff:g id="EVENTDATE">%s</xliff:g> (périodique)"</string>
    <string name="meeting_allday" msgid="6696389765484663513">"Quand : <xliff:g id="EVENTDATE">%s</xliff:g> (toute la journée)"</string>
    <string name="meeting_allday_recurring" msgid="2320264182781062684">"Quand : <xliff:g id="EVENTDATE">%s</xliff:g> (toute la journée, récurrent)"</string>
    <string name="notification_exchange_calendar_added" msgid="6823659622379350159">"Agenda Exchange ajouté"</string>
    <string name="app_name" msgid="5316597712787122829">"Services Exchange"</string>
    <string name="exception_cancel" msgid="6160117429428313805">"Cet événement a été annulé pour : <xliff:g id="DATE">%s</xliff:g>"</string>
    <string name="exception_updated" msgid="3397583105901142050">"Les détails de cet événement ont été modifiés pour : <xliff:g id="DATE">%s</xliff:g>"</string>
    <string name="policy_dont_allow_storage_cards" msgid="2765447013574188473">"Ne pas autoriser les cartes de stockage"</string>
    <string name="policy_dont_allow_unsigned_apps" msgid="4896164334956001479">"Ne pas autoriser programmes d\'installation non signés"</string>
    <string name="policy_dont_allow_unsigned_installers" msgid="1326544905185523540">"Ne pas autoriser programmes d\'installation non signés"</string>
    <string name="policy_dont_allow_wifi" msgid="3109487776704143995">"Ne pas autoriser les communications Wi-Fi"</string>
    <string name="policy_dont_allow_text_messaging" msgid="7846141657345860427">"Ne pas autoriser les SMS"</string>
    <string name="policy_dont_allow_pop_imap" msgid="4702932192358698651">"Ne pas autoriser les comptes POP3 ni IMAP"</string>
    <string name="policy_dont_allow_irda" msgid="1848561629495912430">"Ne pas autoriser communication infrarouge"</string>
    <string name="policy_dont_allow_html" msgid="5888652525907651489">"Ne pas autoriser e-mails au format HTML"</string>
    <string name="policy_dont_allow_browser" msgid="1018764395507493616">"Ne pas autoriser les navigateurs"</string>
    <string name="policy_dont_allow_consumer_email" msgid="6958427300686692292">"Ne pas autoriser e-mails publicitaires"</string>
    <string name="policy_dont_allow_internet_sharing" msgid="2370083814654927695">"Ne pas autoriser partage connexion Internet"</string>
    <string name="policy_require_smime" msgid="673557150920820590">"Exiger le format SMIME pour les messages"</string>
    <string name="policy_bluetooth_restricted" msgid="5248824127186039567">"Limiter l\'utilisation de Bluetooth"</string>
    <string name="policy_app_blacklist" msgid="8169194058285873461">"Interdire les applications spécifiées"</string>
    <string name="policy_app_whitelist" msgid="3670572644342165306">"Autoriser applications spécifiées uniq."</string>
    <string name="policy_text_truncation" msgid="1783448050735715818">"Autoriser e-mails texte selon taille"</string>
    <string name="policy_html_truncation" msgid="102158408055486343">"Autoriser e-mails HTML selon taille"</string>
    <string name="policy_require_sd_encryption" msgid="366468398301273342">"Exiger le chiffrement de la carte SD"</string>
    <string name="policy_dont_allow_attachments" msgid="6250520458670348907">"Ne pas autoriser les pièces jointes"</string>
    <string name="policy_max_attachment_size" msgid="4020279603050888661">"Autoriser pièces jointes selon taille"</string>
    <string name="policy_require_manual_sync_roaming" msgid="6637416341015662148">"Interdire synchro auto en itinérance"</string>
    <string name="policy_require_encryption" msgid="7984702283392885348">"Exiger le chiffrement de l\'appareil"</string>
    <string name="account_setup_options_mail_window_auto" msgid="4188895354366183790">"Automatique"</string>
    <string name="account_setup_options_mail_window_1day" msgid="3965715241135811407">"Un jour"</string>
    <string name="account_setup_options_mail_window_3days" msgid="736181102295878114">"Trois jours"</string>
    <string name="account_setup_options_mail_window_1week" msgid="5639718031108023741">"Une semaine"</string>
    <string name="account_setup_options_mail_window_2weeks" msgid="4567049268124213035">"Deux semaines"</string>
    <string name="account_setup_options_mail_window_1month" msgid="5846359669750047081">"Un mois"</string>
    <string name="account_setup_options_mail_window_all" msgid="5372861827683632364">"Tous"</string>
</resources>

redpajama_set_name: RedPajamaGithub


text:
/* $Id: codec.c 4616 2013-10-08 11:15:22Z bennylp $ */
/*
 * Copyright (C) 2008-2011 Teluu Inc. (http://www.teluu.com)
 * Copyright (C) 2003-2008 Benny Prijono <benny@prijono.org>
 *
 * This program is free software; you can redistribute it and/or modify
 * it under the terms of the GNU General Public License as published by
 * the Free Software Foundation; either version 2 of the License, or
 * (at your option) any later version.
 *
 * This program is distributed in the hope that it will be useful,
 * but WITHOUT ANY WARRANTY; without even the implied warranty of
 * MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the
 * GNU General Public License for more details.
 *
 * You should have received a copy of the GNU General Public License
 * along with this program; if not, write to the Free Software
 * Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA  02111-1307  USA
 */
#include <pjmedia/codec.h>
#include <pjmedia/errno.h>
#include <pj/array.h>
#include <pj/assert.h>
#include <pj/log.h>
#include <pj/string.h>

#define THIS_FILE   "codec.c"

/* Definition of default codecs parameters */
struct pjmedia_codec_default_param
{
    pj_pool_t		*pool;
    pjmedia_codec_param	*param;
};

/* Sort codecs in codec manager based on priorities */
static void sort_codecs(pjmedia_codec_mgr *mgr);

/*
 * Duplicate codec parameter.
 */
PJ_DEF(pjmedia_codec_param*) pjmedia_codec_param_clone(
					pj_pool_t *pool,
					const pjmedia_codec_param *src)
{
    pjmedia_codec_param *p;
    unsigned i;

    PJ_ASSERT_RETURN(pool && src, NULL);

    p = PJ_POOL_ZALLOC_T(pool, pjmedia_codec_param);

    /* Update codec param */
    pj_memcpy(p, src, sizeof(pjmedia_codec_param));
    for (i = 0; i < src->setting.dec_fmtp.cnt; ++i) {
	pj_strdup(pool, &p->setting.dec_fmtp.param[i].name,
		  &src->setting.dec_fmtp.param[i].name);
	pj_strdup(pool, &p->setting.dec_fmtp.param[i].val,
		  &src->setting.dec_fmtp.param[i].val);
    }
    for (i = 0; i < src->setting.enc_fmtp.cnt; ++i) {
	pj_strdup(pool, &p->setting.enc_fmtp.param[i].name,
		  &src->setting.enc_fmtp.param[i].name);
	pj_strdup(pool, &p->setting.enc_fmtp.param[i].val,
		  &src->setting.enc_fmtp.param[i].val);
    }

    return p;
}

/*
 * Initialize codec manager.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_init (pjmedia_codec_mgr *mgr,
					    pj_pool_factory *pf)
{
    pj_status_t status;

    PJ_ASSERT_RETURN(mgr && pf, PJ_EINVAL);

    /* Init codec manager */
    pj_bzero(mgr, sizeof(pjmedia_codec_mgr));
    mgr->pf = pf;
    pj_list_init (&mgr->factory_list);
    mgr->codec_cnt = 0;

    /* Create pool */
    mgr->pool = pj_pool_create(mgr->pf, "codec-mgr", 256, 256, NULL);

    /* Create mutex */
    status = pj_mutex_create_recursive(mgr->pool, "codec-mgr", &mgr->mutex);
    if (status != PJ_SUCCESS)
	return status;

    return PJ_SUCCESS;
}

/*
 * Initialize codec manager.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_destroy (pjmedia_codec_mgr *mgr)
{
    pjmedia_codec_factory *factory;
    unsigned i;

    PJ_ASSERT_RETURN(mgr, PJ_EINVAL);

    /* Destroy all factories in the list */
    factory = mgr->factory_list.next;
    while (factory != &mgr->factory_list) {
	pjmedia_codec_factory *next = factory->next;
	(*factory->op->destroy)();
	factory = next;
    }

    /* Cleanup all pools of all codec default params */
    for (i=0; i<mgr->codec_cnt; ++i) {
	if (mgr->codec_desc[i].param) {
	    pj_assert(mgr->codec_desc[i].param->pool);
	    pj_pool_release(mgr->codec_desc[i].param->pool);
	}
    }

    /* Destroy mutex */
    if (mgr->mutex)
	pj_mutex_destroy(mgr->mutex);

    /* Release pool */
    if (mgr->pool)
	pj_pool_release(mgr->pool);

    /* Just for safety, set codec manager states to zero */
    pj_bzero(mgr, sizeof(pjmedia_codec_mgr));

    return PJ_SUCCESS;
}

/*
 * Register a codec factory.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_register_factory( pjmedia_codec_mgr *mgr,
				    pjmedia_codec_factory *factory)
{
    pjmedia_codec_info info[PJMEDIA_CODEC_MGR_MAX_CODECS];
    unsigned i, count;
    pj_status_t status;

    PJ_ASSERT_RETURN(mgr && factory, PJ_EINVAL);

    /* Since 2.0 we require codec factory to implement "destroy" op. Please
     * see: https://trac.pjsip.org/repos/ticket/1294
     *
     * Really! Please do see it.
     */
    PJ_ASSERT_RETURN(factory->op->destroy != NULL, PJ_ENOTSUP);

    /* Enum codecs */
    count = PJ_ARRAY_SIZE(info);
    status = factory->op->enum_info(factory, &count, info);
    if (status != PJ_SUCCESS)
	return status;

    pj_mutex_lock(mgr->mutex);

    /* Check codec count */
    if (count + mgr->codec_cnt > PJ_ARRAY_SIZE(mgr->codec_desc)) {
	pj_mutex_unlock(mgr->mutex);
	return PJ_ETOOMANY;
    }

    /* Save the codecs */
    for (i=0; i<count; ++i) {
	pj_memcpy( &mgr->codec_desc[mgr->codec_cnt+i],
		   &info[i], sizeof(pjmedia_codec_info));
	mgr->codec_desc[mgr->codec_cnt+i].prio = PJMEDIA_CODEC_PRIO_NORMAL;
	mgr->codec_desc[mgr->codec_cnt+i].factory = factory;
	pjmedia_codec_info_to_id( &info[i],
				  mgr->codec_desc[mgr->codec_cnt+i].id,
				  sizeof(pjmedia_codec_id));
    }

    /* Update count */
    mgr->codec_cnt += count;

    /* Re-sort codec based on priorities */
    sort_codecs(mgr);

    /* Add factory to the list */
    pj_list_push_back(&mgr->factory_list, factory);

    pj_mutex_unlock(mgr->mutex);

    return PJ_SUCCESS;
}

/*
 * Unregister a codec factory.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_unregister_factory(
				pjmedia_codec_mgr *mgr,
				pjmedia_codec_factory *factory)
{
    unsigned i;
    PJ_ASSERT_RETURN(mgr && factory, PJ_EINVAL);

    pj_mutex_lock(mgr->mutex);

    /* Factory must be registered. */
    if (pj_list_find_node(&mgr->factory_list, factory) != factory) {
	pj_mutex_unlock(mgr->mutex);
	return PJ_ENOTFOUND;
    }

    /* Erase factory from the factory list */
    pj_list_erase(factory);

    /* Remove all supported codecs from the codec manager that were created
     * by the specified factory.
     */
    for (i=0; i<mgr->codec_cnt; ) {

	if (mgr->codec_desc[i].factory == factory) {
	    /* Release pool of codec default param */
	    if (mgr->codec_desc[i].param) {
		pj_assert(mgr->codec_desc[i].param->pool);
		pj_pool_release(mgr->codec_desc[i].param->pool);
	    }

	    /* Remove the codec from array of codec descriptions */
	    pj_array_erase(mgr->codec_desc, sizeof(mgr->codec_desc[0]),
			   mgr->codec_cnt, i);
	    --mgr->codec_cnt;

	} else {
	    ++i;
	}
    }

    pj_mutex_unlock(mgr->mutex);

    return PJ_SUCCESS;
}

/*
 * Enum all codecs.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_enum_codecs(pjmedia_codec_mgr *mgr,
			      unsigned *count,
			      pjmedia_codec_info codecs[],
			      unsigned *prio)
{
    unsigned i;

    PJ_ASSERT_RETURN(mgr && count && codecs, PJ_EINVAL);

    pj_mutex_lock(mgr->mutex);

    if (*count > mgr->codec_cnt)
	*count = mgr->codec_cnt;

    for (i=0; i<*count; ++i) {
	pj_memcpy(&codecs[i],
		  &mgr->codec_desc[i].info,
		  sizeof(pjmedia_codec_info));
    }

    if (prio) {
	for (i=0; i < *count; ++i)
	    prio[i] = mgr->codec_desc[i].prio;
    }

    pj_mutex_unlock(mgr->mutex);

    return PJ_SUCCESS;
}

/*
 * Get codec info for static payload type.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_get_codec_info( pjmedia_codec_mgr *mgr,
				  unsigned pt,
				  const pjmedia_codec_info **p_info)
{
    unsigned i;

    PJ_ASSERT_RETURN(mgr && p_info && pt>=0 && pt < 96, PJ_EINVAL);

    pj_mutex_lock(mgr->mutex);

    for (i=0; i<mgr->codec_cnt; ++i) {
	if (mgr->codec_desc[i].info.pt == pt) {
	    *p_info = &mgr->codec_desc[i].info;

	    pj_mutex_unlock(mgr->mutex);
	    return PJ_SUCCESS;
	}
    }

    pj_mutex_unlock(mgr->mutex);

    return PJMEDIA_CODEC_EUNSUP;
}

/*
 * Convert codec info struct into a unique codec identifier.
 * A codec identifier looks something like "L16/44100/2".
 */
PJ_DEF(char*) pjmedia_codec_info_to_id( const pjmedia_codec_info *info,
				        char *id, unsigned max_len )
{
    int len;

    PJ_ASSERT_RETURN(info && id && max_len, NULL);

    len = pj_ansi_snprintf(id, max_len, "%.*s/%u/%u",
			   (int)info->encoding_name.slen,
			   info->encoding_name.ptr,
			   info->clock_rate,
			   info->channel_cnt);

    if (len < 1 || len >= (int)max_len) {
	id[0] = '\0';
	return NULL;
    }

    return id;
}

/*
 * Find codecs by the unique codec identifier. This function will find
 * all codecs that match the codec identifier prefix. For example, if
 * "L16" is specified, then it will find "L16/8000/1", "L16/16000/1",
 * and so on, up to the maximum count specified in the argument.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_find_codecs_by_id( pjmedia_codec_mgr *mgr,
				     const pj_str_t *codec_id,
				     unsigned *count,
				     const pjmedia_codec_info *p_info[],
				     unsigned prio[])
{
    unsigned i, found = 0;

    PJ_ASSERT_RETURN(mgr && codec_id && count && *count, PJ_EINVAL);

    pj_mutex_lock(mgr->mutex);

    for (i=0; i<mgr->codec_cnt; ++i) {

	if (codec_id->slen == 0 ||
	    pj_strnicmp2(codec_id, mgr->codec_desc[i].id,
			 codec_id->slen) == 0)
	{

	    if (p_info)
		p_info[found] = &mgr->codec_desc[i].info;
	    if (prio)
		prio[found] = mgr->codec_desc[i].prio;

	    ++found;

	    if (found >= *count)
		break;
	}

    }

    pj_mutex_unlock(mgr->mutex);

    *count = found;

    return found ? PJ_SUCCESS : PJ_ENOTFOUND;
}

/* Swap two codecs positions in codec manager */
static void swap_codec(pjmedia_codec_mgr *mgr, unsigned i, unsigned j)
{
    struct pjmedia_codec_desc tmp;

    pj_memcpy(&tmp, &mgr->codec_desc[i], sizeof(struct pjmedia_codec_desc));

    pj_memcpy(&mgr->codec_desc[i], &mgr->codec_desc[j],
	       sizeof(struct pjmedia_codec_desc));

    pj_memcpy(&mgr->codec_desc[j], &tmp, sizeof(struct pjmedia_codec_desc));
}

/* Sort codecs in codec manager based on priorities */
static void sort_codecs(pjmedia_codec_mgr *mgr)
{
    unsigned i;

   /* Re-sort */
    for (i=0; i<mgr->codec_cnt; ++i) {
	unsigned j, max;

	for (max=i, j=i+1; j<mgr->codec_cnt; ++j) {
	    if (mgr->codec_desc[j].prio > mgr->codec_desc[max].prio)
		max = j;
	}

	if (max != i)
	    swap_codec(mgr, i, max);
    }

    /* Change PJMEDIA_CODEC_PRIO_HIGHEST codecs to NEXT_HIGHER */
    for (i=0; i<mgr->codec_cnt; ++i) {
	if (mgr->codec_desc[i].prio == PJMEDIA_CODEC_PRIO_HIGHEST)
	    mgr->codec_desc[i].prio = PJMEDIA_CODEC_PRIO_NEXT_HIGHER;
	else
	    break;
    }
}

/**
 * Set codec priority. The codec priority determines the order of
 * the codec in the SDP created by the endpoint. If more than one codecs
 * are found with the same codec_id prefix, then the function sets the
 * priorities of all those codecs.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_set_codec_priority(
				pjmedia_codec_mgr *mgr,
				const pj_str_t *codec_id,
				pj_uint8_t prio)
{
    unsigned i, found = 0;

    PJ_ASSERT_RETURN(mgr && codec_id, PJ_EINVAL);

    pj_mutex_lock(mgr->mutex);

    /* Update the priorities of affected codecs */
    for (i=0; i<mgr->codec_cnt; ++i)
    {
	if (codec_id->slen == 0 ||
	    pj_strnicmp2(codec_id, mgr->codec_desc[i].id,
			 codec_id->slen) == 0)
	{
	    mgr->codec_desc[i].prio = (pjmedia_codec_priority) prio;
	    ++found;
	}
    }

    if (!found) {
	pj_mutex_unlock(mgr->mutex);
	return PJ_ENOTFOUND;
    }

    /* Re-sort codecs */
    sort_codecs(mgr);

    pj_mutex_unlock(mgr->mutex);

    return PJ_SUCCESS;
}

/*
 * Allocate one codec.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_alloc_codec(pjmedia_codec_mgr *mgr,
						  const pjmedia_codec_info *info,
						  pjmedia_codec **p_codec)
{
    pjmedia_codec_factory *factory;
    pj_status_t status;

    PJ_ASSERT_RETURN(mgr && info && p_codec, PJ_EINVAL);

    *p_codec = NULL;

    pj_mutex_lock(mgr->mutex);

    factory = mgr->factory_list.next;
    while (factory != &mgr->factory_list) {

	if ( (*factory->op->test_alloc)(factory, info) == PJ_SUCCESS ) {

	    status = (*factory->op->alloc_codec)(factory, info, p_codec);
	    if (status == PJ_SUCCESS) {
		pj_mutex_unlock(mgr->mutex);
		return PJ_SUCCESS;
	    }

	}

	factory = factory->next;
    }

    pj_mutex_unlock(mgr->mutex);

    return PJMEDIA_CODEC_EUNSUP;
}

/*
 * Get default codec parameter.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_get_default_param( pjmedia_codec_mgr *mgr,
							const pjmedia_codec_info *info,
							pjmedia_codec_param *param )
{
    pjmedia_codec_factory *factory;
    pj_status_t status;
    pjmedia_codec_id codec_id;
    struct pjmedia_codec_desc *codec_desc = NULL;
    unsigned i;

    PJ_ASSERT_RETURN(mgr && info && param, PJ_EINVAL);

    if (!pjmedia_codec_info_to_id(info, (char*)&codec_id, sizeof(codec_id)))
	return PJ_EINVAL;

    pj_mutex_lock(mgr->mutex);

    /* First, lookup default param in codec desc */
    for (i=0; i < mgr->codec_cnt; ++i) {
	if (pj_ansi_stricmp(codec_id, mgr->codec_desc[i].id) == 0) {
	    codec_desc = &mgr->codec_desc[i];
	    break;
	}
    }

    /* If we found the codec and its default param is set, return it */
    if (codec_desc && codec_desc->param) {
	pj_assert(codec_desc->param->param);
	pj_memcpy(param, codec_desc->param->param,
		  sizeof(pjmedia_codec_param));

	pj_mutex_unlock(mgr->mutex);
	return PJ_SUCCESS;
    }

    /* Otherwise query the default param from codec factory */
    factory = mgr->factory_list.next;
    while (factory != &mgr->factory_list) {

	if ( (*factory->op->test_alloc)(factory, info) == PJ_SUCCESS ) {

	    status = (*factory->op->default_attr)(factory, info, param);
	    if (status == PJ_SUCCESS) {
		/* Check for invalid max_bps. */
		if (param->info.max_bps < param->info.avg_bps)
		    param->info.max_bps = param->info.avg_bps;

		pj_mutex_unlock(mgr->mutex);
		return PJ_SUCCESS;
	    }

	}

	factory = factory->next;
    }

    pj_mutex_unlock(mgr->mutex);

    return PJMEDIA_CODEC_EUNSUP;
}

/*
 * Set default codec parameter.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_set_default_param(
					    pjmedia_codec_mgr *mgr,
					    const pjmedia_codec_info *info,
					    const pjmedia_codec_param *param )
{
    unsigned i;
    pjmedia_codec_id codec_id;
    pj_pool_t *pool, *old_pool = NULL;
    struct pjmedia_codec_desc *codec_desc = NULL;
    pjmedia_codec_default_param *p;

    PJ_ASSERT_RETURN(mgr && info, PJ_EINVAL);

    if (!pjmedia_codec_info_to_id(info, (char*)&codec_id, sizeof(codec_id)))
	return PJ_EINVAL;

    pj_mutex_lock(mgr->mutex);

    /* Lookup codec desc */
    for (i=0; i < mgr->codec_cnt; ++i) {
	if (pj_ansi_stricmp(codec_id, mgr->codec_desc[i].id) == 0) {
	    codec_desc = &mgr->codec_desc[i];
	    break;
	}
    }

    /* Codec not found */
    if (!codec_desc) {
	pj_mutex_unlock(mgr->mutex);
	return PJMEDIA_CODEC_EUNSUP;
    }

    /* If codec param is previously set, reset the codec param but release
     * the codec param pool later after the new param is set (ticket #1171).
     */
    if (codec_desc->param) {
	pj_assert(codec_desc->param->pool);
        old_pool = codec_desc->param->pool;
	codec_desc->param = NULL;
    }

    /* When param is set to NULL, i.e: setting default codec param to library
     * default setting, just return PJ_SUCCESS.
     */
    if (NULL == param) {
	pj_mutex_unlock(mgr->mutex);
        if (old_pool)
	    pj_pool_release(old_pool);
	return PJ_SUCCESS;
    }

    /* Instantiate and initialize codec param */
    pool = pj_pool_create(mgr->pf, (char*)codec_id, 256, 256, NULL);
    codec_desc->param = PJ_POOL_ZALLOC_T(pool, pjmedia_codec_default_param);
    p = codec_desc->param;
    p->pool = pool;

    /* Update codec param */
    p->param = pjmedia_codec_param_clone(pool, param);
    if (!p->param) {
	pj_mutex_unlock(mgr->mutex);
	return PJ_EINVAL;
    }

    pj_mutex_unlock(mgr->mutex);

    if (old_pool)
	pj_pool_release(old_pool);

    return PJ_SUCCESS;
}

/*
 * Dealloc codec.
 */
PJ_DEF(pj_status_t) pjmedia_codec_mgr_dealloc_codec(pjmedia_codec_mgr *mgr,
						    pjmedia_codec *codec)
{
    PJ_ASSERT_RETURN(mgr && codec, PJ_EINVAL);

    return (*codec->factory->op->dealloc_codec)(codec->factory, codec);
}


text:
ana lisa alperovich, Tag
Argentina's first floating eco-village provides modern tiny homes for water lovers Thu, 13 Aug 15, 4:42am
Located 40 minutes away from the city, the village rests on the golden Rio de la Plata's waters among private yachts and sailboats. It is designer Fabián De Martino and his architect sister Victoria Carrasco's first constructions...
Eduardo Catalano's iconic 65-foot metal flower blooms again in Buenos Aires Tue, 11 Aug 15, 4:30am
Catalano's Floralis Generica stands at Plaza de las Naciones Unidas (United Nations Park), at one of Buenos Aires most affluent neibourghs, Recoleta. The 65 foot high flower emerges from an artificial circular pond...
Delightful pop-up Camping restaurant brings the great outdoors to busy Buenos Aires Wed, 5 Aug 15, 4:50am
Camping is located at Buenos Aires Design's terrace, in one of Argentina's capital most affluent neighborhoods, Recoleta. It was envisioned by Gabi Balan, who created a horizontal organization together with a multidisciplinary...
Urban Crepe is a blooming Buenos Aires food stall in a repurposed shipping container Mon, 27 Jul 15, 10:45pm
Urban Crepe is located at the 'Distrito Arcos Premium Outlet', an open-air mall on a former railway area within the leafy Palermo. It's massive discount clothes stores are sheltered in re-adapted railway warehouses once...
Playful and resourceful designs from Argentina's Puro Diseño Fair Thu, 25 Jun 15, 4:00am
It was Postigo Design's first time at the fair, where they presented a wonderful recyclable metal bench inspired by leaves and its nervatures. The same design studio unveiled an innovative nest-like lamp made from fast growing...
Beautiful adobe hotel in Bolivia belongs in a fairy tale Tue, 23 Jun 15, 5:30am
With shelters shaped like a tortoise, a teepee, a sea tower and a snail among other natural forms, Las Olas can be easily spotted down from the bay. As it's built on a slope, each room gets both, privacy and marvelous views....
A Glance Back at the Best in Green Design at the Buenos Aires 2013 CASA FOA Festival Thu, 2 Oct 14, 12:00am
Last year's CASA FOA was set at the old Tornquist Bank; a 1926 Neoclassical National Monument right in right Buenos Aires' city center. Architect Julio Oropel's Wine Bar Trapiche welcomed visitors with an intimate dark cafeteria...
Rafael Viñoly's Innovative Fortabat Museum Boasts a Retractable Roof That Syncs Up with the Sun Tue, 15 Oct 13, 11:00pm
Located in an up-and-coming area of Buenos Aires called Puerto Madero, the Museo Fortabat opened its doors in 2008 after six years of construction. It was designed by prominent Uruguayan architect Rafael Viñoly who attempted...
PHOTOS: Living the Green Life at an 'Echo Village' Immersed in Buenos Aires' Delta Fri, 28 Jun 13, 6:56am
Upon arriving, it's difficult to believe that you're still in Buenos Aires. But it takes just 1 hour by train, 45 minutes by boat, and a short 5 minute walk through a green tunnel, you'll find yourself at the doorstep of...
Architect Liam Young Imagines a Sci-Fi Future City Under Tomorrow's Sky Tue, 28 May 13, 2:01am
Liam Young is an independent designer, futurist, critic and curator, and also the founder of Tomorrow's Thoughts Today. Based in London, this imaginative think tank explores fictional near-future scenarios that foster debate...
Dirk Van Der Kooij's Spectacular 3D Printer Robot Places Newly Printed Furniture Outside His Shop Window Wed, 15 May 13, 6:33am
Dirk Van Der Kooij's space is located in a former Phillips building on the edge of Eindhoven's Strijp area, next to Piet Hein Eek's studio, shop and restaurant. An award-winning designer, Van Der Kooij's design-build...
David Graas' Colorful Modular Lamps Divert Plastic from the Ocean Tue, 14 May 13, 6:25am
Most plastics can be endlessly recycled without losing their indestructibility. But instead of being reused, the majority of plastics will end up as one-time-use products, finding their end as pollutants on land or in our...
Beautiful Collision Tableware Uses Red Cabbage Dye to Create Unexpected Pigments Thu, 9 May 13, 7:00am
Color Collision is a collection of non-toxic ceramic tableware designed by Kirstie Van Noort and Rogier Arents. To achieve the unique colors seen above, the ceramic objects were first dyed with red cabbage and then soaked...
Piet Hein Eek Creates an Art Gallery from Recycled Materials in Eindhoven Tue, 7 May 13, 2:21am
Tucked under a busy highway in Eindhoven's Strijp-S area is a wonderful new space that was created by local designer Piet Hein Eek and directed by the "Drenthe Village Angels." The space, which was created using recycled...
Santiago Calatrava's Liège-Guillemins Station is a Daylit Cathedral For High-Speed Trains: PHOTOS Thu, 21 Feb 13, 5:00pm
Read the rest of Santiago Calatrava's Liège-Guillemins Station is a Daylit Cathedral For High-Speed Trains: PHOTOS Permalink | Add to del.icio.us | digg Post tags: Air quality, ana lisa alperovich, Architecture,...
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